Tuba Equipment

The Microtonal Tuba
Author(s): ROBIN HAYWARD

Source: The Galpin Society Journal, Vol. 64 (March 2011), pp. 125-177
Published by: Galpin Society
Stable URL: https://www.jstor.org/stable/23209394
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ROBIN HAYWARD
The Microtonal Tuba
USA the CC instrument is often considered as
quence of the invention of the valve. Whereas standard.3 The six-valve F tuba lends itself best to the
The tuba
naturalcame
horns andinto
trumpetsbeing as a direct conse
existed before exploration of microtonality precisely because of its
valved horns and trumpets, the direct predecessors greater number of valves. The available microtonal
of the tuba are the serpent, ophicleide and English tunings on the standard six-valve F tuba nevertheless
bass horn. There was no 'natural tuba' to act as a remain adaptations of an instrument designed to
precedent for the valved tuba. approximate the chromatic scale, and therefore carry
Though an initial incentive in designing the valve
with them certain limitations that may be addressed
was to provide a quick way of changing crooks
only by redesigning an instrument specifically for
on the natural horn, throughout most ofmicrotonality.
their This article traces the history of valve
history the primary purpose of valves has been to from the original tuba, through the standard
tuning
contemporary
approximate the 12 pitches of the chromatic scale. six-valve F tuba, to the specifically
This is clearly documented in the patent for the fully microtonal tuba.
designed
first tuba, in which the instrument is even named
The exploration of the microtonal potential of
the three
the 'Chromatic Bass Tuba'.1 Yet a detailed study of tubas was in fact made in reverse order.
The fully microtonal tuba follows on from attempts
this patent, and a consideration of the consequences
of valve combinations, reveal microtonal rather made by the music theorist Martin Vogel to
than chromatic tuning to be more idiomatic to thedesign microtonal valved brass instruments in the
instrument. 1960s-70s.4 The problem of how to make the fully
The standard contemporary six-valve F tuba whenmicrotonal system combinable with the standard
studied from this standpoint reveals considerablevalve system led to a delay in its production, and
microtonal potential. This tuba is currently mostto the exploration of the microtonal potential of
widely used in continental Europe. In the UK the the standard contemporary six-valve tuba. For this
majority of both amateur and professional playersphase in the research I am indebted to conversations
use four-valve instruments pitched in E flat and and exchanges of ideas with the composers Stefan
compensated on the Blaikley system2 and in the Bartling, Marc Sabat and Wolfgang von Schweinitz,
1F. W. Wieprecht, Die Chromatische Bafi-Tuba, Prussian Patent 9121, translated by V. Lawson, as quoted in C. Bevan,
The Tuba Family, second edition (Winchester: Piccolo Press, 2000), pp.513-524.
2 Bevan, The Tuba Family, p.385.
4 M. Vogel, On the Relations of Tone, translated by V. G. Kisselbach, (Bonn: Verlag fiir systematische Musikwissenschaft,
1993), pp.375-386.
125
The Galpin Society Journal
7^
■tM
<Si=
--
f r r i'trtfl
Figure 1. The combined overtone rows of the
1835 patent for the first bass tuba.7
taking place in Berlin in

This instrument the
is referred years
to throughout this 2004
would particularly article
like as the to
Wieprecht-Moritz
acknowledgetuba because it was Marc
contribution in expanding the
designed by Friedrich Wieprecht first
and built by Johann 'doubl
tuning' of the standard six-valve
Moritz. Having decided upon the F and CF tuba, or
structure,
based on the valve system
Wieprecht explains how of the
he initially double F
commissioned
horn in Bl> and F, to
Moritzinclude
to construct a tube all valve
length in combina
F, and then had
thus becoming the 'Double-Tuba
an attachment made in order to transpose 45 Tuning
it down
discovery of close aparallels perfect fourth to pedal between the mic
C. Wieprecht refers to the
tunings of the standard fundamental pitches six-valve F tuba a
of the F and C tube lengths
patent of the first as Mutter-Tone
tuba(mother led tones).
to Each the
of these tube
explora
the historical connections lengths is equipped withbetween the two
a tone and semitone valve,
systems, which constitutes the
resulting in the five-valve tuba shown infirst
Figure 2. part
article. Wieprecht describes the manner of playing this
In his patent for the first bass tuba, published tuba, with the left hand operating the upper two
in Berlin in 1835, Friedrich Wilhelm Wieprecht valves, and the right hand operating the lower three
describes how he had been motivated to invent the valves, as following that of the English bass horn or
new instrument out of a desire for a contrabass wind
the bassoon. This would in fact also be the logical
instrument in C, pitched an octave lower than the playing position if the instrument were to continue
serpent and English bass horn. This may initially to be regarded as a double tuba in F and C. Valves one
seem surprising, as the patent is for a bass tuba in
and two lower the open F tube length by a tone and
F, not a contrabass C tuba, Wieprecht goes on toa semitone respectively. The fifth valve, lowering the
explain that the shorter length of tubing required foropen F tube length by a perfect fourth, transforms
the tuba into the contrabass instrument in C that
the F tuba was in fact originally conceived as a second
tube length, introducing a perfect fourth within the had originally been intended (effectively adding the
first octave of the overtone series starting on pedal attachment that Wieprecht had Moritz make after
C. Through the combined overtone series of these the initial construction of the F tube). The third and
two fundamental tones 'the foundations for one of fourth valves then lower this C tube length in turn
the widest-ranged and deepest wind instruments
by a tone and semitone respectively.
had been laid at last'.6 This combined overtone series Seen from the point of view of instrumental design,
is illustrated in Figure III of the patent, reproduced the player operated the F side of the tuba with the
here as Figure 1. higher positioned left hand, and the C side with the
Wieprecht explains how pitching the new lower positioned right hand. In practice, however,
instrument an octave lower than the serpent allowedvalve combinations were used which combined both
the overtones of the fourth octave to come within the F and C sides, as the aim in introducing the F
side of the tuba was not to simulate a double tuba in
playing range, and extended the previous two-and-a
F and C, but to make available all 12 pitches of the
half octave range of the serpent to four octaves, from
Q to C5 (not Q to F5, as the depiction in Figure III chromatic
of scale.
the patent would seem to imply). The F tube length Wieprecht assigns a valve combination to each
was introduced in order to make available pitches
pitch of the descending chromatic scale of fundam
that would have been unobtainable with the C tube
ental tones, starting from F. This is reproduced in
length alone. Figure 3.
5 M. Sabat and R. Hay ward, Towards an Expanded Definition of Consonance: Tuneable Intervals on Horn, Tuba and
Trombone (not yet published in printed form; available online at http://www.robinhayward.de/articles.html), pp.25-29.
6 Wieprecht, as quoted in Bevan, The Tuba Family, p.515.
7 All illustrations from the 1835 patent (GStA PK, I. HA Rep. 120 TD Technische Deputation fiir Gewerbe, Patente
Schriften, Nr. W 167) are printed by kind permission of the Geheimes Staatsarchiv Preussischer Kulturbesitz.
Hayward — Microtonal Tuba
Figure 2. Annotated illustration of Wieprecht

Moritz tuba from the 1835 patent.
First valve, lowering F tube by a whole tone

2-' /fedft Second valve, lowering F tube by a semitone
/Jrif/bc Third valve, lowering C tube by a whole tone
Fourth valve, lowering C tube by a semitone
S=J)tya/dse Fifth valve, lowering F tube by a perfect fourth

(thus forming C tube)
I / * ^ " /«C V " ^ iff:, tfhtucfuc ,

S, /<t< fYuJv*, ^ s£,£ f3~£ 'JVutkje ,
^^ t/Vuc fuc, ,
£rr /JlZJ2Pflfuch/ii J\rj, St, fb'uchei
£feJ/& tfyucAJl, fy, ste, k% &, 2> /#
Cj JptPâcbjc^Jl
Figure 3. Wieprecht's valve combinations for the descending chromatic scale of fundamental tones.
128 The Galpin Society Journal LXIV (2011)
First Mutter-Ton Second Mutter-Ton
* c> ■ (♦) (!>♦) (v) (\?w)

fingerings: o
Wieprecht considered fundamentals below the second Mutter-Ton to be outside the playin
Figure 4. Descending chromatic scale of fundamental tones on the Wieprecht-M
Translated into English, 'Es' refers to El>,

are both 'Des' to
the various fundamental pitches on which
D\>, 'H' to B, 'B' to Bt, 'As' to Al>, and 'Ges' are
the steps to based,
Gk Theand the intervals they form with
those
fingerings given for E and E\> are in pitches,
fact reproduced here in Figure 5.
erroneously
exchanged in this list of valve combinations. E intervals
When naming the is Wieprecht transposes
played using the second valve, and El>
themusing
to within
theanfirst
octave. G3, for example, numbered
31 in the ascending
valve, as may be confirmed by the fingerings chart, may be played as the
given for
eighthmodels
Al> and G, along with examining extant harmonicof
of the
G0, the sixth harmonic of Q, the
Wieprecht-Moritz tuba. The descending chromatic
seventh harmonic of A0, or the fifth harmonic of E^.
When theseactually
scale of fundamental tones would therefore harmonics are transposed into within
have the fingerings shown in Figure 4.
an octave of their respective fundamentals, they form
Because Wieprecht considered fundamentalsthe intervals of an octave, a perfect fifth, a minor
below the second Mutter-Ton to be outside the
seventh, and a major third, listed in the ascending
chart
instrument's playing range, he transposes them up respectively
an as '8ve', '5', '7', and '3'. The pitch
octave, thus forming the lowest complete chromatic
C4, numbered 36 in the chart, may be played as the
scale playable on the instrument, extending from
eighth harmonic of Q, the sixth harmonic of F1( the
to Bj. Through sounding the overtones seventh
of the harmonic of Dp the ninth harmonic of Bb0,
fundamental pitches, he demonstrates how thethe
tenth harmonic of Al>0, or the eleventh harmonic
chromatic scale may be played throughout theWhen transposed to within an octave of
of Gt0.
instrument's entire four-octave range. Many their respective fundamentals, these harmonics
of these
form
tones could be played using multiple fingerings, the intervals of an octave, a perfect fifth, a
and
it is particularly interesting in light of the
minor
tuba's
seventh, a major second, a major third, and
an augmented fourth, listed in the ascending chart
future adaptation for microtonality that Wieprecht
regarded this feature as signifying 'such arespectively
degree as '8ve', '5', '7', '2', '3' and '4'.
of perfection in its technique as is not to be Given
found that the aim was to approximate the
in any other wind instrument'.8 He clearly saw
12 pitches of the chromatic scale, it is easy to
the multiple fingerings as integral to the understand
way the why this fingering chart did not become
tuba would be played. Listed for every step of thepractice. Even if all the fundamentals were
common
chromatic scale from the second octave onwards perfectly in tune, the different fingerings given for
i~SJl W , ~£jes t
I
. - , 2.8. 8?
ka^ssKHiifji ^r
3U A^j<frB±±iU iu«ji
r -~eî8~
>: -V- -»-<w 3ff- -£■- <
1 '- - £ - J. Jj*. - - 7
*-*■■ jp==j[— ft - *•■
U G - 3. il ' IL ;#>_ 3.
-«<-?. ~Ctu.it.
S*>t it.
, 9*f - zj-J' ' IL 2flu ~ s.If L&_
Figure 5. Wieprecht's patent details how each pitch from the second octave of the ascending four-octave chromatic scale
may be played as various overtones of the fundamental tones (fundamentals below C, are transposed up an octave, thus
becoming the second half of the chromatic scale at the beginning of the chart).
K Bevan, The Tuba Family, p.516.
the same steps of the chromatic scale would have of the valves remains to make available all 12 pitches
sometimes resulted in pitches over a quartertone of the chromatic scale, and valves five and six are not
apart from one another. generally seen as tone and semitone valves specifically
Traces of the original Wieprecht design may still for a simulated C tuba, but are used as extra valves to
clearly be seen in the most widely used contemporary compensate for tuning deficiencies caused by valve
six-valve F tuba. The position of the valve groupings combinations in the low register. Understanding the
has been exchanged, and a new valve has been phenomenon of valve combinations, together with
introduced that lowers the F tube by a minor third, questioning the basic assumption that the function
but the initial design concept of two lengths of tubing of the valves be limited to approximating a tempered
pitched in F and C, each accompanied by a tone and chromatic scale, provides the key to unlocking the
semitone valve,9 has survived up until the present microtonal potential that has been latent within the
day. An example of such a tuba is shown in Figure 6. tuba from the moment of its conception.
It is important to stress that it is not common A valve alters the length of the tubing to which
practice to regard the contemporary F tuba in this it is attached. Though valves have been developed
way. As in Wieprecht's time, the standard function which make the tube length shorter,11 by far the
Fifth valve, lowering C tube by a whole tone

(equivalent to third valve on Wieprecht-Moritz tuba)
Sixth valve, lowering C tube by a semitone

(equivalent to fourth valve on Wieprecht-Moritz tuba)
First valve, lowering F tube by a whole tone

(equivalent to first valve on Wieprecht-Moritz tuba)
Second valve, lowering F tube by a semitone

(equivalent to second valve on Wieprecht-Moritz tuba)
Third valve, lowering F tube by a minor third

(without equivalent on Wieprecht-Moritz tuba)
Fourth valve, lowering F tube by a perfect fourth

(thus forming C tube; equivalent to fifth valve on
Wieprecht-Moritz tuba)
Figure 6. Annotated picture of a contemporary six-valve tuba (B&S model 3100).10
9 On some contemporary F tubas the position of the fifth and sixth valves is reversed.
10 Reproduced by kind permission of B&S Musical Instruments.
The Galpin Society Journal LX1V (2011)
most common function of the valve is to increase the predicting their tuning.
overall length by adding extra tubing. The extent toAll of the tunings described in this article have
which such a valve lowers the pitch depends not onbeen tested on a B&S model 3100 F tuba and the
the absolute length added, but on the ratio between actual tunings for the vast majority of pitches found
the initial and combined lengths. If a valve addingto be sufficiently close to the theoretical predictions
one metre of tubing were to be attached to a tubeto be within lipping range of them. Only when using
length also a metre long, the ratio between the initiallong lengths of tubing for microtonal pitches in the
and combined lengths would be: high register does the discrepancy between actual
and theoretical tunings become a serious issue, as
lm / (lm + lm) = lm / 2m = 1/2. it is hard under these conditions to lip the pitches in
tune. As is discussed below, this is one of the reasons
Because frequency is inversely proportional tofor designing a tuba specifically for microtonality, in
length, the valve would in theory lower the pitch by which such conditions are no longer necessary.
the musical interval 2/1, equivalent to one octave. Apart from minimal corrective adjustments to
If the same one metre length of tubing were to bethe main tuning slide, the open (unvalved) tube
added to an initial two metre tube length, this ratio length of a valved brass instrument generally
would be altered to: remains unaltered. Therefore as long as each valve
is used independently, the initial length it adds to
2m / (2m + lm) = 2m / 3m = 2/3 remains constant. But as soon as a valve is used in
combination with other valves, it is no longer adding
and the pitch would consequently be lowered by thetubing to the open tube length alone, but to the open
musical interval 3/2, a perfect fifth. tube length plus the length of the tubing added by
any other valves that are simultaneously depressed.
Adding the one metre length of tubing to an initial Taking the example of the contemporary F tuba
three-metre tube length would result in the ratio: described above, the second valve might be tuned
to lower the pitch of the open tube by a tempered
3m / (3m + lm) = 3m / 4m = 3/4 semitone (100 cents), and the first valve to lower the
open tube by a tempered whole tone (200 cents). Let
and the pitch would now be lowered by the musical L0 be the open tube length, L2 the length added by
interval 4/3, a perfect fourth. The principal is clear:the second valve, and L0+2 their combined lengths.
the less the ratio between the initial and combined When the second valve is used independently, the
lengths, the smaller the interval by which the pitch ratio between the initial and combined lengths is
is lowered. defined as:
In practice the situation is more complex, as the
wavelength extends slightly further than the end L0 / L0+2 = L0 / 12V2 L0 = 1/12V2
of the tube, and other factors such as bore profile
also play a significant role in the actual relationship
and the length added by the second valve as:
between tube length and resulting pitch.12 Through
out this article it is always the theoretical relationship
L2 = L0+2 - L0 = 12V2 L0 - L0 = (12V2 - 1)-L0.
that is given, and it is important to bear in mind that
the actual relationship will deviate from this toLet
a Li be the length added by the first valve and
certain extent. Even if the tube lengths are adjusted
L0+1 this length in combination with the open tube
to produce the desired fundamental tones, there will
length. When the first valve is used independently,
still be some discrepancy between the actual and the ratio between the initial and combined lengths
theoretical tunings of the overtones. Knowledgeisofdefined as:
the theoretical tunings is nevertheless useful as it
provides an initial guide for designing tube lengths
L0/L0+1 = L0/12V22L0=1/12V22
and a compass against which actual tunings may be
measured. The deviations from theoretical values on and the length added by the first valve defined as:
high quality brass instruments are not so extreme as
to render them invalid as a means of describing and U = L0+1 - L0 = 12V22 L0 - L0 = (12V22 - 1)-L0.
12 A. Myers, 'Design, technology and manufacture since 1800', in T. Herbert and J. Wallace (ed.), The Cambridge
Companion to Brass Instruments (Cambridge: Cambridge University Press 1997), p.128.
Therefore: by examining these valve combinations from the
standpoint of the third valve.
L0+lt2 = L0+L,+L2 = (l2V22 + 12V2 - 1) L0. Let L3 be the length added by the third valve and
L0+3 this length in combination with the open tube
When the two valves are used in combination the length. When the third valve is used in isolation, the
ratio between the initial and combined lengths
ratioisbetween the initial and combined lengths is
defined as:
altered. From the standpoint of the second valve,
the initial length has now become L0+1, and the
combined length L0+1+2. The ratio between the L0/L0+3
initial = L0/12V23L0=1/12V23
and combined lengths is therefore now defined as:
and the length added by the third valve as:
L0+i / L0+i+2 = 12V22 L0 / (12V22 + 12V2 - l)-Lo
= 12V22 / (12V22 + 12V2 - 1). L3 = L0+3 - L0 = W23 L0 - L0 = (12V23 - 1)-L0.
Therefore:
Through using the formula for converting ratios to
cents13 it is now possible to calculate the extent to
which the second valve lowers the pitch whenL0+2+3
used = L0 + L2 + L3 = (12V23 + 12V2 - 1)-L0
in combination with the first valve:
and
1200 / log 2 x log [L0+1 / L0+1+2]

= 1200 / log 2 x log [12V22 / (12V22 + 12V2 - 1)] L0+1+3 = L0 + L, + L3 = (12V23 + 12V22 - 1)-L0
= - 89 cents.14
and
As the first valve is tuned to lower the pitch by a

tempered whole tone (200 cents), when valves one Lo+1+2+3 = Lq + Lt + L2 + L3
and two are used in combination the pitch is lowered = (12V22 + 12V2 - 1)-L0 + (12V23 - 1)-L0
by 200 + 89 = 289 cents. = (12V23 + 12V22 + 12V2 - 2)-L0.
The result is of course identical if the same situation When the third valve is used in combination with
is considered from the standpoint of the first valve. the second valve the ratio between the initial
Now the initial length is redefined as L0+2, whileand combined lengths is again altered. From the
the combined length remains L0+1+2. The extent tostandpoint of the third valve, the initial length is
which the first valve lowers the pitch when used now L0+2, and the combined length L0+2+3. The ratio
in combination with the second valve may now bebetween the initial and combined lengths is now
calculated as: defined as:
1200 / log 2 x log [L0+2 / L0+1+2] L0+2 / Lo+2+3 = 12V2 L0 / (12V23 + 12V2 - l)-Lo
= 1200 / log 2 x log [12V2 / (12a/22 + 12V2 - 1)] = 12V2 / (12V23 + 12V2 - 1).
= - 189 cents.
It is now possible to calculate the extent to which

As the second valve is tuned to lower the pitch the
by a third valve lowers the pitch when used in
tempered semitone (100 cents), when valves onecombination
and with the second valve:
two are used in combination the pitch is lowered by
100 + 189 = 289 cents. This is 11 cents short of the 1200 / log 2 x log [L0+2 / L0+2+3]
300 cents required for a tempered minor third. = 1200 / log 2 x log [12V2 / (12V23 + 12V2 - 1)]
An obvious solution to this problem might be = -284 cents.
to tune the third valve so as to lower the pitch by

a tempered minor third. This however only leads to As the second valve is tuned to lower the pitch by a
more acute tuning problems when it is combinedtempered semitone (100 cents), when valves one and
with valves one and two. This may be demonstrated two are used in combination the pitch is lowered by
13 A. J. Ellis, 'On the calculation of cents from interval ratios', in H. Helmholtz, On the Sensations of Tone, transla
by A. J. Ellis (Mineola: Dover Publications, 1954), pp.446-450.
14 Throughout this article all cents indications are rounded to the nearest cent.
The Galpin Society Journal LXIV (2011)
100 + 284 = 384 cents. This is 16 cents short of the
Table
Table 1.
1. Combinations
Combinationsofofvalves
valvesone,
one,
two
two
andand
three
three
400 cents required for a tempered major third. tuned
tuned respectively
respectivelytotoa atempered
tempered
whole-tone,
whole-tone,
a tempered
a tempered
When the third valve is used in combination semitone
semitone and
andaatempered
temperedminor
minorthird,
third,
thethe
number
number
of of
with the first valve the ratio between the initial cents
cents by
by which
whichthe
thepitch
pitchis islowered,
lowered,
and
and
thethe
deviation
deviation
in in
and combined lengths again changes. From cents
the from
cents from the
thedesired
desiredtempered
tempered
interval.
interval.
standpoint of the third valve, the initial length isValve Lowering pitch Deviation
combination
now L0+1, and the combined length L0+1+3. The ratio by (cents) from desired
between the initial and combined lengths is now tempered

defined as: interval (cents)
2 100 0
L0+i / L0+H3 = 12V22 L0 / (12V23 + W22 - 1) L0 1 200 0
= 12V22 / (12V23 + 12V22 - 1). 1 + 2 289 11
3 300 0
The extent to which the third valve lowers the pitch
2 + 3 384 16
when used in combination with the second valve
1 + 3 470 30
may be calculated as:
1 + 2 + 3 546 54
1200 / log 2 x log [L0+l / L0+1+3]

required
= 1200 / log 2 x log [12V22 / (12V23 + 12V22 - 1)] for a tempered augmented fourth. With
= -270 cents. only three valves combined, the tuning is already
more than a quartertone sharp.
The valve combinations so far discussed are
Because the first valve is tuned to lower the pitch
by a tempered whole-tone (200 cents), when summarized
valves in Table 1.
one and three are used in combination the pitch It isisclear that tuning each individual valve to
lowered by 200 + 270 = 470 cents. This is now 30 the pitch by tempered intervals only makes
lower
sense if the valves are to be used independently.
cents less than the 500 cents required for a tempered
perfect fourth. Such instruments were in fact designed by Adolphe
When the third valve is used in combination with Sax in 1852.15 Named the 'Saxhorn nouveau basse'
both the first and second valves the ratio between and equipped with six ascending valves, their tuning
the initial and combined lengths is once again
system has more in common with that of the slide
trombone than with any instrument using valve
altered. From the standpoint of the third valve, the
combinations.
initial length is now L0+1+2, and the combined length
Lo+i+2+3- The ratio between the initial and combinedOn these instruments the longest length of tubing
lengths is now defined as: is employed when no valves are depressed. The air
column passes through each valve in ascending
Lo+1+2 / L0+1+2+3 order, enters the longer of two lengths of tubing
attached to the sixth valve, and is then fed back
= (12V22 + I2V2 - 1)-L0 / (12V23 + 12V22+ 12V2 - 2)-L0
= (12V22 + 12V2 - 1) / (12V23 + 12V22 + 12V2 - 2). through each valve in descending order before
exiting at the bell. Producing the lowest available
pitch, this is the equivalent to the seventh slide
The extent to which the third valve lowers the pitch
when used in combination with the second valve position on the trombone. When the sixth valve
may now be calculated as: is depressed, the air column is rerouted into the
shorter of the two tubing lengths, raising the pitch
1200 / log 2 x log [L0+1+2 / Lo+1+2+3] by a tempered semitone, before re-entering the
= 1200 / log 2 x log [(12V22 + 12V2 - 1) / sixth valve and again returning via the other valves
(W23 + 12V22+ 12V2 - 2)] towards the bell. Depressing the fifth valve diverts
= -257 cents. the air column into an alternative length of tubing,
raising the pitch by a tempered whole-tone, before it
Because the combined first and second valves lower is fed back into the fifth valve, and passes through
the pitch by 289 cents, when combined with thethe remaining four valves towards the bell. This
third valve the pitch will be lowered by 289 + 257principal is repeated for the fourth valve, which raises
= 546 cents. This is 54 cents less than the 600 cents the pitch by a tempered minor third, and similarly
15 Bevan, The Tuba Family, pp.259-260.
for the remaining valves, so that the third valve Because frequency is inversely proportional to
raises the pitch a tempered major third, the second length, the corresponding ratio between the initial
valve a tempered perfect fourth, and the first valve a and subsequent frequencies is 17/16. Depressing
tempered augmented fourth, equivalent to the first the valve thus lowers the pitch by the musical
slide position on the trombone. Valve combinations interval 17/16. This is the equivalent of 105 cents,
are thus not only unintended by the design, but are five cents greater than a tempered semitone. It is
rendered impossible by it, because whenever a valve also the tuning of the second valve that is held by
is depressed it redirects the air column away from manufacturers to be the most useful.17 The reason for
the higher numbered valves. this becomes clear when further valve combinations
The 'Saxhorn nouveau basse' was unsuccessful are examined.
partly because the tubing had to enter the valvesIfso
the first valve is tuned to add 2/16 = 1/8 of the
many times (12 times when no valves are used open tube length, the ratio between the initial and
or the
sixth valve is depressed), which resulted incombined
a dull lengths is:
tone. The instruments were also extremely heavy and
8 / (8 + 1) = 8/9.
required learning an entirely new fingering system,
utterly different in concept from the principle of
descending valve combinations that the players
Depressing this valve consequently lowers the pitch
were accustomed to. For this reason it was by
only
the musical interval 9/8, which is the equivalent
of 204 cents, four cents greater than a tempered
on trombones that the system was ever regularly
adopted.16 whole-tone.
Even without these complications the six valves Combining valves one and two adds 2/16 + 1/16 =
would still leave a gap of an augmented fourth 3/16 of the open tube length. The ratio between the
between the highest fundamental (valve one) and the initial and combined lengths is now:
lowest first overtone (no valves) - precisely the gap,
in fact, that Wieprecht had introduced the F tube 16 / (16 + 3) = 16/19.
to help fill when designing the Wieprecht-Moritz
tuba. For this reason the systeme Eugene Detiege Depressing both valves one and two therefore
model trombone adds to the six independent valves lowers the pitch by the musical interval 19/16. The
a seventh which has the effect of the usual fourth equivalent to 298 cents, this is only two cents less
valve, plus a spring slide to allow intonation to bethan a tempered minor third. All combinations
corrected. of the first two valves are now within comfortable
The standard approach towards approximating lipping range of the desired tempered intervals.
equal tempered tuning on valved brass instruments Before considering how the third valve of the
is to find ways of compensating for the tuning errorscontemporary tuba might fit into this scheme, it is
inherent within valve combinations, rather than worth considering what such a tuning of valves one
abandoning the concept altogether. The strategy for and two would imply for the tuning of the Wieprecht
the first three valves of the contemporary tuba isMoritz tuba. Though Wieprecht does not specify
to tune each individual valve slightly larger than awhether he was thinking in terms of tempered or
tempered interval, so that the pitches remain within rational intervals when designing the valve lengths
lipping range of the tempered intervals both when(it seems most likely he worked empirically, adjusting
each valve is used independently and in combination the tube lengths in the workshop in order to achieve
with the other valves. Defining the degree to which the best overall results), it is this tuning that would
each valve lowers the tuning as a whole number ratio have been the most logical in achieving his stated
drastically simplifies the calculation of these valveaim of making all 12 pitches of the chromatic scale
combinations. available throughout the instrument's entire range.
If the second valve is tuned to add 1/16 of the The first and second valves would thus be tuned to
lower the pitch by the musical intervals 17/16 and 9/8
open tube length, the ratio between the initial and
combined lengths is: in relation to the F tube, by adding 1/16 and 1/8 of
the F tube length respectively. The third and fourth
16 / (16 + 1) = 16/17. valves would be tuned to lower the pitch by 17/16 and
9/8 in relation to the C tube, by respectively adding
16 A. Myers, The Cambridge Companion to Brass Instruments, pp. 129-130.

17 M. Vogel, On the Relations of Tone, p.378.
Table
Table 2.
2. Proportions
Proportionsofofthetheopen
openF F
tube
tube
added
addedbybyeach
each Table
Table3. 3.
Proportions
Proportions
of the of
opentheF tube
open
added
F tube
by the added by the
of the
the five
five valves
valvesfor
forthe
thehypothetical
hypotheticaltuning
tuning of of
thethe valve
valvecombinations
combinations
for thefor
descending
the descending
chromatic scale
chromatic scale
Wieprecht-Moritz
Wieprecht-Moritztuba, tuba,together
together with
with
thethe
associated
associated of
offundamentals
fundamentalsshownshown
in Figurein4,Figure
together4,
with
together
the with the
ratios
ratios between
betweenthetheinitial
initialand
andcombined
combined tube
tube
lengths
lengths associated ratios between the initial and combined
and
and the
the corresponding
correspondingmusical
musicalintervals
intervals
bybywhich
whichthethe tube lengths and the corresponding musical intervals by
pitch
pitch is
is lowered.
lowered. which the pitch is lowered.
Valve Ratio between Musical Ratio
Proportion Proportion Musical
added interval Valve between
lengths added interval
1
lengths
6/48 [1/8] 48/54 [8/9] 54/48 [9/8]
0 0/48 48/48 [1/1] 48/48 [1/1]
2 3/48 [1/16] 48/51 [16/17] 51/48 [17/16] 2 3/48 [1/16] 48/51 [16/17] 51/48 [17/16]
3 8/48 [1/6] 48/56 [6/7] 56/48 [7/6] 1 6/48 [1/8] 48/54 [8/9] 54/48 [9/8]
4 4/48 [1/12] 48/52 [12/13] 52/48 [13/12] 1 + 2 9/48 [3/16] 48/57 [16/19] 57/48 [19/16]
5 16/48 [1/3] 48/64 [3/4] 64/48 [4/3] 1 + 2 + 4 13/48 48/61 61/48
5 16/48 [1/3] 48/64 [3/4] 64/48 [4/3]
4+5 20/48 [5/12] 48/68 [12/17] 68/48 [17/12]
1/16 and 1/8 of the open C tube length. The C tube
3 + 5 24/48 [1/2] 48/72 [2/3] 72/48 [3/2]
itself, operated by the fifth valve, would be tuned to
3 + 4 + 5 28/48 [7/12] 48/76 [12/19] 76/48 [19/12]
lower the pitch by the musical interval 4/3, a perfect
2+3+4+5 31/48 48/79 79/48
fourth, by adding 1/3 of the open F tube length.
1+3+4+5 34/48 [17/24]
48/82 [24/41] 82/48 [41/24]
In order to calculate the theoretical tunings of
1+2+3+ 37/48 48/85 85/48
the Wieprecht-Moritz tuba it is first necessary to
4+5
express all of the added tube lengths as proportions
of the open F tube length. This may be achieved by Wieprecht-Moritz tuba, together with the ratios
rewriting the ratios over a common denominator. between the open and combined tube lengths and
Valves one, two and five add 1/8, 1/16 and 1/3 the corresponding musical intervals by which the
of the open F tube length respectively. These three pitch is lowered, are summarized in Table 2.
ratios may be expressed over their lowest common Further valve combinations may be calculated
denominator as 6/48, 3/48 and 16/48. The F tube is simply by adding the various ratios together. So for
thus divided into 48 theoretical equal parts, to which example the combination 1 + 2 is calculated as:
the first valve adds 6, the second valve 3, and the fifth
valve 16 of these parts. The C tube is comprised of 6/48 + 3/48 = 9/48.
the combined lengths of the F tube and fifth valve.
Expressed over the common denominator 48, it It is now possible to work out the musical intervals
therefore forms the ratio 48/48 + 16/48 = 64/48 with by which the pitch is lowered for the descending
the open F tube. Valves three and four add 1/8 and chromatic scale of fundamental tones shown in
1/16 of the C tube length respectively. Expressed in Figure 4. These are listed in Table 3.
terms of the F tube length, this makes 1/8 x 64/48 = Based on this hypothetical tuning of the
8/48 in the case of the third valve and 1/16 x 64/48 = Wieprecht-Moritz tuba, the descending chromatic
4/48 in the case of the fourth valve. scale of fundamental tones is shown in Figure 7,
Each of the lengths added by the five valves has annotated with the musical intervals by which
now been expressed over the common denominator each valve combination lowers the pitch and the
48, representing equal divisions of the open F tube. associated cent deviations from tempered tuning.
The proportion of the open F tube length added Cent deviations are notated in small text, above the
by each valve for this hypothetical tuning of the staff if higher than the tempered pitch, and below
pitch lowered by: 48/48 51/48 54/48 57:48 61/48 64/48 68/48 72/48 76/48 79/48 82/48 85/48
led: 1/1 17/16 9/8 19/16 61/48 4/3 17/12 3/2 19/12 79/48 41/24 85/48
+2 +4 +37 +73 +111
♦ (▼) (b») (♦> (te) (^}

fingerings:
Figure 7. Annotated descending chromatic scale of fundamental tones on the Wieprecht-Mor

intervals by which each valve combination lowers the pitch and the associated deviations in c
the staff if lower than the tempered pitch. third, this is not a problem because this interval is
It is clear that the first bass tuba could not have already brought within comfortable lipping range by
been an unqualified success in approximating valves
the one and two. The first test of tuning the third
12 pitches of the tempered chromatic scale. The
valve to lower the pitch by the musical interval 6/5
only way to correct the extremely sharp tunings is
ofnot how closely it approximates a tempered minor
third when used independently, but how closely it
the final three pitches of the descending chromatic
scale of fundamental tones would be to tune each approximates a tempered major third when used in
individual valve so flat as to make it unusable for the combination with the second valve.
first nine pitches. This is very probably the reason for If the second valve is tuned so as to lower the pitch
the introduction of an additional valve to lower theby the musical interval 17/16, and the third valve to
open tube by a minor third, which is now standard lower the pitch by the musical interval 6/5, then the
on almost all contemporary tubas. theoretical proportions of the open F tube length
added by valves two and three are respectively 1/16
It is intriguing to speculate that the introduction
of this new valve may well have been the reason for and 1/5. In order to calculate the combined valve
the exchanged position of the valve groupings on thelengths it is necessary to express these ratios over
contemporary F tuba. Lowering the open F tubetheir by lowest common denominator, which means
a minor third, the new valve logically belongs to the
rewriting them as 5/80 and 16/80.
F side of the tuba, and the obvious position for it is Adopting the same valve length notation used
therefore together with the first and second valves,above for the tempered valve tunings, the combined
which on the Wieprecht-Moritz tuba are operated valve length may now be calculated as:
by the left hand and positioned high up on the
instrument. It may well have been a resulting top
L2 + L3 = 5/80 + 16/80 = 21/80.
heaviness that led to these three valves exchanging
The ratio between the initial (open) and combined
position with the tone and semitone valves of the
C side of the tuba, leading to the current setuplengths for the valve combination 2 + 3 is thus:
shown in Figure 6. Despite being moved to the lower
Lo / L0+2+3 = (80/80) / (80/80 + 21/80) = 1 / (101/80).
position, the tone and semitone valves of the F side
of the tuba retained their names as the first and
second valves. The new valve now became the third The extent to which the combination of the second
and
valve, and the valve previously referred to as the fifth third valves lowers the pitch may now be
calculated as:
valve (lowering the pitch by a perfect fourth), now
positioned directly beneath the first three valves,
1200 / log 2 x log [1/ (101/80)] = -404 cents.
was logically renamed the fourth valve. The tone and
semitone valves of the C side of the tuba, originally
listed as the third and fourth valves, were renamedLowering the open F tube by a major third results in
as the fifth and sixth valves. the fundamental pitch being lowered from F to Dk
How the new third valve is tuned is central to the As shown in Figure 7, for this DS> Wieprecht gives the
six-valve tuba's success or failure in approximating
fingering 1 + 2 + 4, which, assuming the individual
the 12 pitches of the tempered chromatic scale. valves are tuned as shown in Table 2, results in
One option might be to tune it so as to lower thethe tuning being 15 cents lower than the desired
pitch by the musical interval 19/16, equivalent totempered major third. The modern equivalent of
the combined first and second valves. As has been
this fingering is 1 + 2 + 6. Through replacing valves
one and six with the new third valve, tuned to lower
demonstrated above, this would mean that it would
the pitch by the musical interval 6/5, the Dt> has
be just two cents short of the 300 cents required
for a tempered minor third. Such a tuning of been
the raised 11 cents to be just four cents lower than
third valve would however lead to the problema of
tempered major third. It is clear that, at least as
far as lowering the pitch a major third is concerned,
increasing sharpness as soon as it is combined with
valves one and two. this is an appropriate tuning of the third valve if the
The next largest ratio to 19/16 is 18/15, which whenaim is to approximate tempered tuning as closely as
expressed in its lowest terms is 6/5. This lowers the possible.
pitch by 316 cents, 16 cents more than the 300 cents As this is the current aim, it is not actually
required for a tempered minor third. Though if usednecessary to calculate the degree to which valve
independently the third valve would clearly be outsidecombinations 1 + 3 and 1 + 2 + 3 lower the pitch,
comfortable lipping range of the tempered minorbecause the presence of the fourth valve that lowers
the pitch a perfect fourth makes such combinations
Table 4. Ratios added by the six valves of the
of the first three valves redundant. As shown in
contemporary tuba expressed over the lowest common
denominators 48, 80 and 240.
Figure 7, the next four semitones of the descending
chromatic scale, lowering the pitch by a perfect
Valve LCD 48 LCD 80 LCD 240
fourth, diminished fifth, perfect fifth, and minor1 6/48 10/80 30/240
sixth respectively, do not require the use of the new
2 3/48 5/80 15/240
third valve. The fingerings for these four pitches on
3 -
16/8048/240
the contemporary six-valve tuba are in fact identical
to the equivalent fingerings on the Wieprecht
4 16/48 -
80/240
Moritz tuba. 5 8/48 -
40/240
It is only for the final three pitches of the 6 4/48 -

20/240
descending chromatic scale that the third valve again
becomes necessary. It is interesting to compare the
intervals it is again necessary to place all valve ratios
over a common denominator. It has been established
standard current fingerings with those of Wieprecht
for these three pitches too. that the proportions of the open F tube added by each
For the At Wieprecht gives the fingering 2 + 3 + 4 of
+ the five valves of the Wieprecht-Moritz tuba may
5. On the contemporary tuba this is equivalent to 2 +be expressed over the lowest common denominator
4 + 5 + 6. A standard current fingering for this pitch48, and that these valves are equivalent to valves
is 2 + 3 + 4 + 6. Using the valve numbering system of one, two, four, five and six of the contemporary six
the contemporary tuba, the fifth valve, which whenvalve F tuba. It has also been established that the
used independently lowers the pitch by the musical ratios by which valves one, two and three of the
interval 7/6, has been replaced by the third valve, contemporary F tuba add lengths of tubing may
which when used independently lowers the pitch be expressed over a lowest common denominator
by the larger musical interval 6/5. The difference in80. The lowest common denominator of these two
size between these two intervals compensates for numbers is 240, into which 80 may be divided three
the sharp At of the Wieprecht-Moritz tuba, which istimes, and 48 divided five times. Each of the six valve
37 cents less than the 900 cents needed to lower the ratios may therefore be expressed over the common
pitch by a tempered major sixth. denominator 240, as shown in Table 4.
For the G Wieprecht gives the fingering 1 + 3 + 4 By adding these ratios together, it is now possible
+ 5, equivalent to 1 + 4 + 5 + 6 on the contemporaryto calculate the extent to which standard fingerings
tuba. A standard current fingering for this pitch
of the last three pitches of the descending chromatic
is 3 + 4 + 5 + 6. The first valve, which when used scale deviate from the desired tempered intervals.
independently lowers the pitch by the musical interval A standard fingering for the Al> is 2 + 3 + 4 + 6. The
9/8, has again been replaced by the third valve. The combined valve length may now be calculated as:
difference between these two valve lengths, which is
greater than was the case for the At, compensatesL2 + L3 + L4 + L6 = 15/240 + 48/240 + 80/240 + 20/240
for the very sharp G of the Wieprecht-Moritz tuba, = 163/240.
which is 73 cents less than the 1000 cents required to
lower the pitch by a tempered minor seventh. The ratio between initial and combined lengths for
For the G\> Wieprecht gives the fingering 1 + 2 + 3the valve combination 2 + 3 + 4 + 6 is thus:
+ 4 + 5, which is equivalent to 1 + 2 + 4 + 5 + 6 on the
contemporary tuba. A standard current fingering for L0 / L0t2+3+4+6 = (240/240) / (240/240 + 163/240)
this pitch is 1 + 2 + 3 + 4 +5. The sixth valve, which = 1 / (403/240)
when used independently lowers the pitch by the = 240/403.
musical interval 13/12, has once again been replaced
by the third valve. The difference between these twoThe extent to which the combination of the second
valve lengths, now considerably greater than was theand third valves lowers the pitch may now be
case for the A\> or G, compensates for the extremelycalculated as:
sharp Gl> of the Wieprecht-Moritz tuba, which is 111
cents short of than the 1100 cents needed to lower 1200 / log 2 x log (240/403) = -897 cents.
the pitch by a tempered major seventh.
In order to work out precisely how successful the This is just 3 cents short of the 900 cents required for
third valve is at lowering the final three pitches of the
the tempered major sixth.
descending chromatic scale to the desired tempered
A standard fingering for the G is 3 + 4 + 5 +6. The
pitch lowered by: 240/240 255/240 270/240 285/240 303/240 320/240 340/240 360/240 380/240 403/240 428/240 453/240
led: 1/1 17/16 9/8 19/16 101/80 4/3 17/12 3/2 19/12 403/240 107/60 151/80
+2 +4+3 +0
1 ■»- W
T\\ ~W 1rw
fingerings: 2 3 l
3 4 2
A < ■x
6 6 4
5
Figure 8. Fingerings and theoretical cents deviations of the descending chromatic scale of fundamentals for a standard
tuning of the contemporary six-valve F tuba.
combined valve length may now be calculated as: 1200 / log 2 x log (240/453) = -1100 cents.
L3 + L4 + L5 + L6 = 48/240 + 80/240 +40/240 + 20/240 For this fingering there is zero cents deviation from
= 188/240. the 1100 cents required for the tempered major
seventh.
The ratio between initial and combined lengths for The contemporary six-valve F tuba thus brings
the valve combination 3 + 4 + 5 + 6 is thus: into easy lipping range the 12 pitches of the
tempered chromatic scale, and the problem of valve
L0 / L0+2+3+4+6 = (240/240) / (240/240 + 188/240) combinations has been very effectively solved. The
= 1 / (428/240) cent deviations caused by the difference between
= 240/428. theoretical and actual tunings are in fact likely to be
greater than any of those shown in Figure 8.
The extent to which the combination of the second Though it seems probable that the third valve was
and third valves lowers the pitch may now introduced
be specifically to compensate for tuning
calculated as: difficulties in the low register of the Wieprecht
Moritz tuba, it is the fifth and sixth valves that
1200 / log 2 x log (240/428) = -1001 cents. might be more obviously regarded as 'compensating'
valves18 on the contemporary six-valve tuba, as they
This is just one cent more than the 1000 cents
are generally used exclusively in the low register
required to lower the pitch by a minor seventh. and are therefore associated with compensating
for the increasing sharpness caused by multiple
A standard fingering for the Gl> is 1 + 2 + 3 + 4 +valve
5. combinations. In the literal sense of the term
The combined valve length may now be calculated all
as: except the fourth valve may be regarded as
compensating valves, as it is only the fourth valve
Li + L2 + L3 + L4 + L5 that is not tuned larger than tempered in order to
= 30/240 + 15/240 + 48/240 + 80/240 + 40/240 compensate for sharpness when combined with
= 213/240. other valves.
The term 'compensating system', however, refers
specifically to systems that have been developed to
The ratio between initial and combined lengths for
the valve combination 1 + 2 + 3 + 4 + 5 is thus: compensate for sharpness in the low register arising
from the need to use greater numbers of valves than
L0 / L1+2+3+4+5 = (240/240) / (240/240 + 213/240) in the medium and high registers. The six-valve
= 1 / (453/240) system of the contemporary F tuba described in
= 240/453. this article is only one of a variety of compensating
systems that have been devised.19 The very success of
The extent to which the combination of the second such systems in approximating equal temperament
and third valves lowers the pitch may now be may in fact be one of the reasons why the basic
calculated as: assumption that this is the primary purpose of the
valve has remained unquestioned for so long.
18 The use of the term 'compensating valve' in this context should not be confused with automatic compensating
systems such as that used on Blaikley model euphoniums and tubas, or compensating double French horns.
19 Bevan, The Tuba Family, pp.195-202.
If the purpose of valves is to approximate equal The overtone row thus corresponds to whole number
temperament then the phenomenon of valve divisions of a length of tubing, and the undertone
combinations must necessarily be seen as a problem row to whole number multiples of a length of tubing.
to be solved. Though equal temperament may be a The net result of combining descending valves is
logical way of tuning a piano keyboard, it is in fact identical to that of adding whole number multiples of
profoundly unidiomatic to valved brass instruments. lengths of tubing together, thus forming undertone
It has been demonstrated that valve combinations rows.
actually work directly against equal tempered tuning. It is important to stress that, whereas overt
Each valve must be tuned flatter than tempered in
rows have some correspondence with both the ser
of playable notes on a tube and to the frequencies
order to compensate for the sharpness that inevitably
arises from combining valves. Even though tempered
the spectral components of a steady note sounded
tuning for fundamental tones and their octave a wind instrument (a harmonic series), the under
row is an abstraction that may be played o
transpositions may be closely approximated using
valve combinations, there still remains the problem instrument as a succession of tones resulting f
that all overtones other than octave transpositionsdifferent valve combinations. Just as in the ca
will deviate from the tuning of the fundamentals. the overtone row the 'centres' of the range of play
Though this is not a practical issue for multiples notes
of do not form a harmonic series, but onl
the third harmonic, deviating from the fundamental approximation of one, the series of fundamen
by just two cents, it becomes a significant issue for tones resulting from valve combinations
multiplies of the fifth harmonic. Multiples of prime approximate but not be identical to the theore
numbers of seven and higher are sometimes deemedundertone row.
to be so out of tune as to be musically invalid. But On actual brass instruments the valves do not
they are only 'out of tune' if equal temperament add is whole number multiples of the open tube length
taken as the reference point. If instead the tuning together. In order for this to be the case the shortest
implicit in the structure of the tuba is taken as thevalve would have to be equal in length to the open
reference, then Wieprecht's use of the seventh and tube itself. Of the valve lengths on the standard
eleventh overtones in the ascending chart shown contemporary six-valve tuba so far examined, the
in Figure 5 may seem remarkably prophetic of the longest is the fourth valve, which adds 1/3 of the
microtonal potential inherent within the tuba, evenopen tube length. The ratio between the open and
if inadvertently so. combined valve lengths is therefore 3/4, which may
What combinations of descending valves be rewritten as 3/1 : 4/1. If the open tube length is
naturally do is form undertone rows. An undertone now divided into three equal theoretical parts, and
row is defined simply as the inverted overtone row. brackets are used to distinguish between theoretical
So, whereas the frequencies of an overtone row form and actual tube lengths, then the relationship
the proportions: between the open tube length and the combined
length of the open tube plus the fourth valve may be
1/1: 2/1 : 3/1 : 4/1: 5/1: 6/1 ... n/1 written as:
the frequencies of an undertone row form the(1/1): (2/1): 3/1: 4/1.

proportions:
Because frequency is inversely proportional to
1/1:1/2 :1/3 :1/4: 1/5 :1/6 ... 1/n. length, the corresponding frequency relationships
are:
Because frequency is inversely proportional to

length, the overtone row corresponds to tube lengths (1/1): (1/2): 1/3 :1/4.
forming the proportions:
This four-note undertone row is illustrated in
1/1 : 1/2 : 1/3 : 1/4 :1/5 : 1/6 ... 1/n Figure 9.
It is as if a virtual brass instrument were simulated
and the undertone row corresponds to tube lengthswith an open tube length 1/3 of the actual F tube
forming the proportions: length. This virtual instrument is equipped with three
virtual valves, each adding a length of tubing equal
1/1: 2/1 : 3/1 : 4/1: 5/1: 6/1 ... n/1. to the open tube length. Depressing the first virtual
valve doubles the instrument's length, thus halving
tube length: (1/1) (2/1) 3/1 4/1

undertone row: (1/1) (1/2) 1/3 1/4
Figure 9. The fundamental pitches of the F and C tubes

of an undertone row starting at C3.
its frequency. that it would

Depressing the be pitched
first at F5, four octaves
and second higher virt
valves triples the than the Fj of the reallength,
instrument's F tube. thus dividin
This virtual
its frequency by three. instrument is equipped
Combining with a
virtual valv
one, two and three quadruples the
multitude of virtual valves, instrument
each adding a length of
length, thus dividing tubing frequency
its equal to its own open tube
by length. Depressing
four. It is on
the last two virtual valve combinations that are one valve would thus double this length, halving the
actually playable as fundamental pitches on thefrequency.
real In musical terms this means lowering
instrument, using the real valve combinations the
of nopitch by the musical interval 2/1 (one octave) to
F4. that
valves for Fj and the fourth valve for Q. The fact Depressing two valves would triple the length,
the first two pitches of this undertone row are lowering
in fact the pitch by the musical interval 3/1 (an
playable on the tuba as overtones of fundamental
octave and a fifth) to Bl>3, and depressing three valves
would lower the pitch by the musical interval 4/1
pitches is irrelevant at this point, as it is the ability
of valve combinations to form undertone rows of (two octaves) to F3. In order to lower the pitch by the
fundamental pitches that is being investigated. musical interval 16/1, the four octaves required to
In order not to get confused by the notation reach
of the first subharmonic playable on the actual
instrument, it would be necessary to depress 15
ratios it is important to keep track of what they
refer to. For the undertone row notation, the ratio
valves of the virtual instrument. This is played on
theto
1/1 refers to the first pitch in the row and 1/2 real instrument as the open F fundamental.
the second pitch, because the frequency is halved.
Depressing the second valve of the real instrument
The musical interval between these two pitches,then lowers the pitch of the virtual instrument by
on the other hand, is notated as 2/1, following the musical interval 17/1, equivalent to depressing 16
the
convention that the higher integer describing valves
a on the virtual instrument.
musical interval is notated as the numerator, and the
The relationships between virtual and actual tube
lengths so far discussed may be summarized as:
lower integer notated as the denominator. In order
to help avoid confusion, all ratios in this article that
specifically refer to musical intervals are referred(1/1)
to: (2/1) : (3/1) : (4/1) : (5/1) : (6/1) : (7/1) : (8/1) :
as 'the musical interval x/y'. (9/1) : (10/1) : (11/1) : (12/1) : (13/1) : (14/1) : (15/1) :
The concept of the virtual instrument has not16/1:17/1.
so
far proved to be of much practical use, yielding only
two notes of an undertone row as pitches playable
Because frequency is inversely proportional to length,
as fundamentals on the actual instrument. But if the corresponding frequency relationships are:
instead of the fourth valve, the second valve is taken
(1/1) : (1/2) : (1/3) : (1/4) : (1/5) : (1/6) : (1/7) : (1/8) :
as the basis for the undertone row, then the concept
(1/9) : (1/10) : (1/11) : (1/12) : (1/13) : (1/14) : (1/15) :
starts to look more promising as a way of exploring
the tuba's microtonal potential. 1/16: 1/17.
For the reasons explained above, the standard
This 17-note undertone row is illustrated in
tuning for the second valve is the musical interval
Figure 10. In order to extend the undertone row
17/16 (five cents larger than a tempered semitone).
This implies that the second valve add 1/16 offurther
the a valve combination must be found that
open tube length. Following the procedure taken adds another 16th of the open tube length. The
standard
for the fourth valve, it is now possible to imagine a tuning of the first valve lowers the pitch
virtual instrument with an open tube length by 1/16 the musical interval 9/8. This implies adding
of the actual open F tube length. The pitch ofathis length of tubing 1/8 = 2/16 of the open F tube
virtual instrument therefore would be 16 times that
length. As the second valve adds 1/16 of the open
of the actual instrument. Because 16 = 24, this means
tube length, and the first valve 2/16, depressing the
tube length: (1/1) (2/1) (3/1) (4/1) (5/1) (6/1) (7/1) (8/1) (9/1)
undertone row: (1 /I) (1/2) (1/3) (1/4) (1/5) (1/6) (1/7) (1/8) (1/9)
+o
w
<W)
(10/1) (li/i) (12/1) (13/1) (14/1) (15/1) 16/1 17/1
(1/10) (l/ii) (1/12) (1/13) (1/14) (1/15) 1/16 1/17
(♦) &w)
-49
-2
<*) (») (hr)
Figure 10. The fundamental pitches of the tube lengths arising from no valves and valve two may be regarded as the
sixteenth and seventeenth subharmonics of an undertone row starting at Fs.
first valve independently extends the undertone row withdrawing the first and second valve slides slightly
one step further (equivalent to depressing 17 valves to adjust to the larger intervals.
on the virtual instrument). Depressing the valve This new tuning divides the open F tube length
combination one and two adds 1/16 + 2/16 = 3/16 to into 15 rather than 16 theoretical parts. The starting
the open tube length, thus extending the undertone pitch of the undertone row is therefore 15 times the
row down to the 19th subharmonic (equivalent to fundamental frequency, which is to say that it is
depressing 18 valves on the virtual instrument). equivalent to the 15th harmonic of the fundamental
This tuning of the first two valves thus enables frequency. The undertone row therefore starts at
the 16th, 17th, 18th and 19th subharmonics of E5, tuned 12 cents lower than a tempered E5. This is
an undertone row starting at F5 to be played as shown in Figure 13.
fundamental tones, increasing the number of Tuning the open tube length to a tempered F makes
subharmonics available on the actual instrument to sense if the aim is to approximate tempered tuning
four. These four subharmonics are shown in Figure on
11. the tuba. But if valve combinations are explored
The third valve might now be tuned so as to lower
in their own right, it is no longer necessarily useful
the open F tube by the musical interval 19/16. This
to define F as the tempered reference pitch. As each
would allow combinations of the first three valves of the fundamentals is defined in relation to the 1/1
to extend the undertone row down to the 22nd of the undertone row, one option might be to tune
subharmonic, as demonstrated in Figure 12. this pitch tempered. In the case of the undertone
Because the conventional aim of valve com row under current discussion this would mean
binations is to approximate temperedtuning
tuning,
the E5 tempered, thus raising the tuning of
however, the third slide on standard instruments is
each pitch by 12 cents.
tuned to lower the pitch of the open F tubeThe by problem
the with tuning the 1/1 of each undertone
musical interval 6/5 (= 18/15). As discussed row above,
tempered is that it makes it difficult to compare
tunings based on the various undertone rows that
this wide tuning of the minor third helps compensate
for sharpness arising from combinations with arise from different valve tunings. The obvious
other
valves. As the current aim is not to approximate
choice for a tempered pitch universal to all tunings
tempered tuning, this is not in and of itselfisanA, as this is the pitch to which most ensembles
issue,
but because the third valve is normally tunedtune. In to reference to the tuning charts this may be
lower the pitch by the musical interval 6/5,defined
tuning as the fifth harmonic of the open F tube, A3.
it to lower the pitch by the musical intervalSometimes
19/16 it is useful to reference the A3 to a
would mean shortening the length of the valvedifferent
slide, overtone within the chart, or to define
which could only be achieved by cutting the
into the
tempered reference pitch as a different pitch
tubing of the instrument itself. altogether. Whenever this is the case the reasons are
It is therefore more practical to adjust the
givenfirst
in the contexts within which they occur.
and second valves to accommodate the tuning Withof the fifth harmonic of the open F tube defined
the third valve, by tuning them to lower as the
thepitch
tempered reference pitch, the cent deviations
by the musical intervals 17/15 and 16/15 respectively,
in Figure 13 are altered to those shown in Figure 14.
corresponding to the 18/15 third valve tuning.For this undertone tuning valves one, two and
This
tuning of valves one and two is easily accessible
three add 2/15,1/15 and 3/15 of the open tube length
on any contemporary tuba, as all it requires is
respectively. The fourth valve, lowering the pitch
undertone row: 1/16 1/17 1/18 1/19 (1/1)
+o
i~±=.
3=
(the theoretical undertone

fingerings: 0 row starts at F5)
Figure 11. The 16th to 19th subharmonics of an undertone row starting at F? playable as fundamental
tones using combinations of valves one and two.
undertone row: 1/16 1/17 1/18 1/19 1/20 1/21 1/22 (1/1)
+o
Figure 12. In theory the third valve could be tuned so as to extend the undertone row
down to the 22nd subharmonic.
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 (1/1)
+o
m !>-#
(the theoretical
fingerings:
undertone row starts
atE,)
Figure 13. Thefirst three valves may be tuned to form part of an undertone row extendingfrom
the 15th to the 21st subharmonic.
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 (1/1)
lTT»1
4= <2
(the theoretical
fingerings: o
at E,)
Figure 14. The altered cent deviations for the undertone row extending from the 15th to 21st
subharmonic with the tempered reference pitch defined as the fifth harmonic of the open F tube, A3.
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 1/22 1/23 1/24 1/25 1/26 (1/1)
+ 14 +2 +4 +16 +31 +0 +29
\ 4 4*) h
® m 1 1
fingerings: 0 2 1 lor 32 lor 41 or 21 lor 32 1 1
23324424332 at E5)
3 4 4 4 3
4
Figure 15. When valves one, two, three and four are tuned so as to add 2/15, 1/15, 3/15 (= 1/5) and 5/15
(- 1/3) of the open tube length respectively, the undertone row may be extended to the 26th subharmonic.
by a perfect fourth, adds 1/3 = 5/15 of the open F or 16ths of the C side. Having tuned the first four
tube length. The first three valves may therefore valves to add 15ths of the F side, it would seem an
be combined with the fourth valve to extend the obvious first choice to tune the fifth and sixth valves
undertone row down to the 26th subharmonic, as to add 15ths of the C side of the tuba. In order to
demonstrated in Figure 15. work out combinations involving all six valves, it
The question now arises as to where the fifth and is again necessary to calculate all valve ratios as
sixth valves might fit into this scheme. Recalling theproportions of the F side of the tuba, by writing them
F and C structure of the tuba's original design, theover a common denominator.
fifth and sixth valves lower the C side of the tuba If the F side of the tuba is divided into 15 equal
by a tone and semitone respectively. As with valvesparts, and the C side adds five more, then the C side
one and two with respect to the F side of the tuba,is comprised of 20 of these parts. If the sixth valve is
tuned to add 1/15 of this length, and the fifth valve
valves five and six may be tuned to add either 15ths
4 length added by second valve
■< length added by firet valve
I length added by Hind valve
d by fourth valve
6 7 8 9 10 11 12 13 14 15
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1« 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45
C tube
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
h added by fifth valve
H length added by sixth valve
Figure 16. If the F and the C tubes are

to express the lengths added by the fift
tuned to add notation of valve

2/15, combinations.
then:
The conventional way of notating valve combi
L6 = (20/15) parts
nations is to= 4/3
list each depressed parts
valve by its number
and leave any unused valves unnotated. This becomes
and inconvenient with combinations of five or six valves,
as it is difficult to read so many numbers quickly.
L5 = (20/15) x Adapting
2 = the notational parts.
8/3 system used for woodwind
instrument fingerings makes it possible to read
In order to define these
fingerings much more lengths
quickly, which is particularly
proportions of relevant
the F side
for microtonal of
music, as there the tu
are so many
necessary to divide each
different fingerings. of
In this system, the
covered vents are 15 p
resulting in anrepresented
overall subdivision
by filled in circles, and uncovered vents o
into 45 parts. byThe
empty circles.proportions
Adapting this for valves, a filled in of
added circle represents are
by each valve a depressedillustrated
valve, and an empty
The proportions of
circle an undepressed the
valve. The F tube
circles are arranged
valve may now
so as to all
reflect thebe
position ofexpressed
the valves on the two o
denominator 45.
sides ofTable 5 byshows
the tuba as perceived the player (compare the
open F tube added
with Figure 6): by each valve,
associated ratios between initial and combined tube
lengths and the corresponding musical intervals by O O 5 1

which the pitch is lowered. O O 6 2
All valve combinations may now be calculated O 3

by adding the various ratios. For example, valve O 4
combination 1+6 adds 6/45 + 4/45 = 10/45 of the
The valve combination '1 2 3 4' would thus be
open F tube length. The proportion between the
initial and combined lengths is therefore 45/55, and
represented by:
the fundamental pitch is lowered by the musical
interval 55/45 [= 11/9]. O •
It is now possible to calculate all of the fundamental O •
tones for this tuning of the valves. Before doing so
it is necessary to make a short digression on the
Table
Table5.5.The
Theproportion
proportion
of the
ofopen
theFopen
tube added
F tubebyadded
each by each
and the combination '5 6' by:
valve
valveforforthe
the
'Double-Tuba
'Double-Tuba 45 Tuning',
45 Tuning',
the associated
the associated
ratios
ratiosbetween
between thethe
initial
initial
and combined
and combined
lengths,lengths,
and and • O
the
thecorresponding
corresponding musical
musical
interval
interval
by which
bythewhich
pitchthe pitch
• O
is
is lowered.
lowered.
O
Valve Proportion Ratio between Musical
O
added lengths interval
1 6/45 [2/15] 45/51 [15/17] 51/45 [17/15]

The fingering '23456' would be notated as:
2 3/45 [1/15] 45/48 [15/16] 48/45 16/17]
3 9/45 [1/5] 45/54 [5/6] 54/45 [6/5] • O
4 15/45 [1/3] 45/60 [3/4] 60/45 [4/3] • •
5 8/45 45/49 49/45
6 4/45 45/53 54/45
m w
-34 -34
o< o«
J! M s!l 5I§ sli

10 12 13 14 15 16
m
IT
-26 -13 -41
oo «o O' OO 0* oo «o oo •• *o o» OO ••
go go • •
mm si: !*
8o sli 60* 66* 660 si! slieli sli, ■MAI
17 18 19 20 21 22 23 24
m
-23 -26
o« 00 • 0 • • «0 o» OO *0
OO OO
JU§ 6IS ell el? Js6?s 6$* JUUs Al 7fs7|i
25 26 27 28 29 30 31 32
+29
1
b-^ b^ b-* b-*
-24 -16 -39
OO •• 0O o« OO o* •• »o OO •• «o O* ••
•0
MM A! AIM MAIM 7?U: ?ll Ai 79*
+4
33 34 35 36 37 38 39 40
(^)
1 — —
W ~w w hr bw \>T (the theoretical

-4 -25 -46 -8 -28
•o •• •• • • undertone row
J: all ell e!5 all M sli all starts at B6)
Figure 17. Descending series offundamentals for the 'Double-Tuba 45 Tuning'.
and the third harmonic, B2, as

The space below the circles representing the fifth
and sixth valves may be used to denote the harmonic
and subharmonic numbers of any given pitch. For O O
example, the fundamental Et in Figure 15, played by O •
depressing the second valve, would be notated as: 3 O

1 6 O
O O
0 • Once the undertone row for a given valve tuning has
1 O been defined, it would in theory be possible to notate
1 6 O every pitch available on the tuba using this method
alone. It is clearly more practical though to use it in
indicating that it is the first harmonic of the
combination with conventional pitch notation.
sixteenth subharmonic of the undertone row. TheIn Figure 17 both notational methods are used
tobe
second harmonic of this fundamental, E2, would depict the descending fundamentals that result
notated as: when the valve tunings shown in Table 5 are used in
combination. This valve tuning is referred to as the
O O 'Double-Tuba 45 Tuning', because it is based on the
O • concept of the double tuba in F and C, first dividing
2 O each side into 15 equal parts, and then expressing
1 6 O the ratio added by each valve over the common
N.B. The next figure - figure 18 - extends over the following 8 pages.
Figure 18. Ascending chart of the 'Double-Tuba 45 Tuning' extendingfrom F0 to Cs.
123456789 10
+14 +33 +18 +39
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-39
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12 13 14 15 16 17 18 19 20
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-16 -47 -26
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121 122 123 124 125 126 127 128 129 130
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69* 69» 69o M MM
131 132 133 134 135 136 137 138 139 140
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mm mo om mo mo om mo om om mo
18 J? J8 K
6« 660 660 82* 8t2 8t* 4I0 63* 638 80* 79
141 142 143 144 145 146 147 148 149 150
-41 -30
•• *o •• »o 00 o» 00 «o om mm mo mm
28 28 18 |8 JJ fS 18 18 28 J8 |8 |S IS fJ 18 J8 ,!Sj8 J8
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181 182 183 184 185 186 187 188 189 190
+23 +26 +31 +44
-22 -39 -35

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201 202 203 204 205 206 207 208 209 210
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211 212 213 214 215 216 217 218 219 220
-25 -17
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221 222 223 224 225 226 227 228 229 230
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-47 -39 ■7
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-41 -30 -26

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150 The Galpin Society Journal LX1V (2011)
A 481 A 482 A 483

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516 517 518
bV
519 520
-28 -26 -24 -19 -16 -16

OO o* •• 09 09 OO 90 •0 09 OO O* OO 90 99
if: ils ii: sis lil mi MMilUllMM ill ill

521 522 523 +7 524 +10 525 +14 526 +15 527 528 +25 529 +29 530
\h+ 9-0 b* V* \h*
•• 90 09 99 90 00 •• *o 09 OO 99 90 09 00 99 90
MM *?§ M iff M MMM

ill ill M ilsj!!j!§j5: MM MM
+33 +37 +39 +40 +43 +47
531 b* 532 \>+ 533 U 534 W 535 W 536 537 538 539 540
-49 -46 -44 -41

09 99 90 09 09 OO 99 00 99 •• 90 09 99 90 0* 99 o« ••
MMM M MM M ill M MMits ill ill ill M M M
^541 + 542 + 543 ^.544 + 545 -o- 546 ♦ 547 .0. 548 b^549 +.550
-39 37 -35 32 -29 -27 25 -23 -21 -20

09 00 •• 00 •0 00 *o 00 •0 o* 00 »o o« 00
M ill M ill M ill MM M ill ils il: ill MM

551 552 553 554 555
-19 -18
• • 90 •• «0 OO *o OO 0« OO • O OO 90
MM MM ill ill sll iSI all M iH M ill ill MM M >i: M 28 M iSS

556 557 558 559 560
99 90
M M M M MM MM MM ill
561 562 563 564 565 566 567 568 569 570
•• o* o« •• •• o* o« •• •• o« o» •• mo
lli lli in iii ili i!i ?8i m ill m ill iinn

571 572 573 574 575
M. M. ML M. JL
-41 26 -33 30 26
•• mo o« oo o« oo •• *o •• «o o« oo
ifiiii lli lli ill ili ill its MM

576 577 578 579 580
M M A. JL M.
ill ill
581 582 583 584 585
-7 -2 -1
oo »o oo
1?S lli ill »H jfs til ili i?: lli lli

+ -7 +9 +9
«/~) OO VO A 587 j*. 588 JL 589 i 590
oo o« OO O* oo »0 O* •• 0O ••
ili ili ili ili

•• oo
ill lli 18
Figure 18. Ascending chart of the 'Double-T
denominator 45, are used. Figure 18 shows the ascending chart

representing the of all theor
divisions of the pitches available
open on the 'Double-Tuba
F tube. The 45 Tuning'
Virtual i
that symbolizes extending
the from F0 to C5.
beginning of the
row thus 1/45 the The 'Double-Tuba
is
length 45 Tuning' of
is based the
on dividingF tube
both the F length,
corresponding to this and C sides of the tuba B6,into 15 is
equal theref
theoretical parts. The
as the 1/1 of the undertone row, whilst next step in exploring the t
tube fundamental microtonal
that potential marks
of the standard six-valve
the F tuba begin
real undertone rowis to divide
is one theof these45th
sides into 16 parts, while
subharmon
theoretical 1/1. the other side remains divided into 15. Dividing
Following Wieprecht's example
into 16 parts simply implies tuning the semitone to sh
Figure 5, the higher add 1/16 pitches
rather than 1/15 of the
mayF or C tube be
length, define
harmonics of these fundamentals. As the aim is no thus lowering the pitch by the musical interval 17/16
longer to approximate the 12 pitches of the temperedrather than the musical interval 16/15, and basing
chromatic scale, but to explore the tuba's microtonal the tuning of the other valves of the relevant side on
potential, it now makes sense to include all thethis semitone tuning.
overtones of every fundamental throughout the As has been discussed above, it is not possible to
entire range. Wieprecht envisioned the range of the tune all valves of the F side of the tuba to add 16ths
bass tuba as extending between Q and C5. Althoughof the F tube, as this would entail cutting into the
the range of the modern F tuba extends from F0 to F5,tubing of the instrument to shorten the third valve,
it makes sense to maintain Wieprecht's upper limitdesigned to lower the pitch by the musical interval
of C5, as the perfect fourth above this is playable as 18/15 (= 6/5) rather than 19/16. Even if this were not
a glissando regardless of which valve combinationsan issue, the length of tubing added by the fourth
H length added by fint valve

I length added by ttmd valve
Ided by tourth valve
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
f tube (■v^^4îav|+|v|p|HhvaPV|^|v|v||,p4av|v|v^|n|^||4|v|PV|^PV|p^V¥||f^||v|v||vNhv|ff|v4||v|v|v||la|f||p|v,|t|v|v|vH
012345678 9 l0111213141516171S1920212223242S262728293031323334353tf373«394041424344454«474849505IS2535455565758»«)
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
1 < length added by fiflh valve
> I length added by sbdh valve
Figure 19. If the F tube is divided into 15 parts, and the C tube into 16 parts, then the open F tube must be divided into
60 parts in order to express the lengths added by the fifth and sixth valves as whole number proportions of the F tube.
valve, adding 5/15 (= 1/3) of the open F tube length, denominator 60, representing equal divisions of
cannot be expressed in terms of 16ths of the open F the open F tube. The 'virtual instrument' that sym
tube. So before investigating the microtonal tunings bolizes the beginning of the undertone row is thus
that might arise from tuning valves one and two to 1/60 of the length of the open F tube. The pitch
add 16ths of the F tube, whilst leaving valves three
corresponding to this length, E7, is therefore defined
and four adding 15ths, the simpler alternative will beas the 1/1 of the undertone row, whilst the open F
explored of tuning valves five and six to add 16ths oftube fundamental that marks the beginning of the
the C side of the tuba, whilst valves one, two, three real undertone row is the 60th subharmonic of this
and four add 15ths of the F side. theoretical 1/1.
As with the 'Double-Tuba 45 Tuning', it is first Two tunings of the six-valve F tuba have so far
necessary to calculate the ratios added by all six been explored. The first, through tuning valves one,
valves as proportions of the open F tube by placing two, three and four to add 15ths of the F side of the
them over a common denominator. The F side of the tuba, and valves five and six to add 15ths of the C
tuba remains divided into 15 equal parts, and the C side, results in a tuning in which the length added
side adds five more, so the C side is comprised of 20 by each valve may be expressed as 45ths of the open
of these parts. If the sixth valve is now tuned to add F tube. The second tuning, through adjusting valves
1/16 of this length, and the fifth valve is tuned to add five and six to add 16ths of the C side of the tuba,
2/16, then: leads to a tuning in which all valve lengths may be
expressed as 60ths of the open F tube. In order to
L6 = 20/16 = 5/4 parts explore further tunings based on the double-tuba
tuning concept, the first and second valves must
and now be adjusted to add 16ths of the open F tube. As
valves three and four must continue to add 15ths of
L5 = 20/16 x 2 = 5/2 parts. the F tube, it is first necessary to find the common
denominator for the ratios added by first four valves,
In order to define these lengths as ratios of the open F before considering the possible tunings of valves five
tube it is therefore necessary to divide each of the 15 and six.
parts into quarters, resulting in an overall division The theoretical proportions of the open F tube
into 60 parts. The proportions added by each valve length added by valves one, two, three and four
are illustrated in Figure 19. are respectively 1/8, 1/16, 1/5 and 1/3. The lowest
The whole number proportions of the F tube
added by each valve may all now be expressed over Table
Table6.6.
The
The
proportion
proportion
of theof
open
theF tube
openadded
F tube
by each
added by each
the common denominator of 60. These proportions valve
valvefor
for
thethe
'Double-Tuba
'Double-Tuba60 Tuning',
60 Tuning',
the associated
the associated
are shown in Table 6, together with the ratios ratios
ratiosbetween
betweenthe the
initial
initial
and combined
and combined
lengths, and
lengths, and
the
thecorresponding
correspondingmusical
musical
interval
interval
by whichby
thewhich
pitch isthe pitch is
between the initial and combined lengths and the lowered.
lowered.
corresponding musical intervals by which the pitch
Valve Proportion Ratio between Musical
is lowered.
Figure 20 shows the descending fundamentals
1 8/60 [2/15] 60/68 [15/17] 68/60 [17/15]
that result when the six valve tunings in Table 6 are
used in combination with one another. This valve 2 4/60 [1/15] 60/64 [15/16] 64/60 [16/15]
tuning is referred to as the 'Double-Tuba 60 Tuning', 3 12/60 [1/5] 60/72 [5/6] 72/60 [6/5]
because it is based on the concept of the double tuba 4 20/60 [1/3] 60/80 [3/4] 80/60 [4/3]
in F and C, dividing the F side into 15 equal parts, 5 10/60 [1/6] 60/70 [6/7] 70/60 [7/6]
the C side into 16 equal parts, and then expressing
6 5/60 [1/12] 60/65 [12/13] 65/60 [13/12]
the ratio added by each valve over the common
Hayward —Microtonal Tuba
m -25
'b-*
-28 -2
oo OO
el!
o« oo
el8 el! 7^7?! ,11

10 12 13 14 15 16
-p b-p \>T bv b^ ♦ -*■

-41
o* 00
•< 00 00
7I! jJi 7$ 711 8u* 80S

78 7?i IS
17 18 19 20 21 22 23 24
-27 -10 -30 -49
K.K
•• «o •o •• «o
81§ell el!els
s !§.!§ el! s?Ie?§
25 26 27 28 29 30 31 32
Vw bi
-26 -45 -18
• • «o
o« 00 •• *o • • #o o« 00
OO OO
t°
90o 96*
,18 J j: 9iS ,11,1s ,?§,!! JsJs
33 34 35 36 37 38 39 40
m
Vm \>-0- \>-+ \>-+
-36 -5 -22 -39
• • «o 00
•« •• «o •• o«
J 9I* 9IS ,0!! ?8 ?S TS ?: 10H

102»102» 103* 104*
+2
41 42 43 44 45 46 47 48 (♦)
i>-w (the theoretical

-13
•o •• undertone row
JUi
••
..n „!s „1: nit nit starts at E7)
Figure 20. Descending series of fundamentals for the 'Double-Tuba 60 Tuning'.
common denominator for these four ratios is 240. standard tuning, the fourth possible tuning using
the double-tuba concept will be briefly examined,
Expressed over this common denominator, the
ratios added by the valves are 30/240,15/240,48/240 namely that based on dividing the C side of the tuba
and 80/240. into 15 parts, whilst valves one and two are based
It was established in the comparison of the on a division of the F side into 16 parts, and valves
contemporary six-valve tuba with the Wieprecht three and four are based on a division of the F side
Moritz tuba that the common denominator remains into 15 parts.
240 when valves five and six are so tuned as to add In order to express the ratios added by the first
60ths of the C side of the tuba, and indeed that this four valves, the F side of the tuba must be divided
is the standard tuning for the six-valve F tuba, with into 240 equal parts. The C side, brought into being
which the 12 pitches of the tempered chromatic through depressing the fourth valve, adds 80 more,
may be very closely approximated (see Figure 8). As and so is comprised of 320 of these parts. If the sixth
shown in Table 4, in this tuning the fifth valve adds valve is now tuned to add 1/15 of this length, and the
20/240 and the sixth valve adds 10/240 of the openfifth valve is tuned to add 2/15, then:
F tube length.
Before exploring the microtonal potential of this L6 = 320/15 = 64/3 parts (= 21.33 parts)
H length added by second valve
length added by first valve
I length added by thud valve
d by fourth valve
6 7 8 10 11 12 13 14 15
mum*mmmUm
8 9 1C10 11 12 13 14 IS 16
10 11 12 13 14 15 16
h added by filth valve
H length added by sbdh valve
Figure 21. Relative proportions of tube lengths for the 'Double-Tuba 240 Tuning'.
and
Table
Table7. 7.
TheThe
proportions
proportions
ofthe open
ofthe
Ftubeopen
added Ftube
by each added by each
valve
valveforfor
the the
'Double-Tuba
'Double-Tuba
240 Tuning',
240the
Tuning',
associatedthe associated
L5 = 320/15 x 2 = 128/3 parts (= 42.66 parts). ratios
ratios between
between the initial
the initial
and combined
and combined
lengths, and lengths, and
the
thecorresponding
corresponding musicalmusical
interval by
interval
which the
bypitch
which the pitch
is
islowered.
lowered.
In order to define these lengths as ratios of the
open F tube it is therefore necessary to divide Valve Proportion Ratio between Musical
each of the 240 parts into thirds, resulting in an
1 30/240 [1/8] 240/270 [8/9] 270/240 [9/8]
overall division into 720 parts. For this reason this
2 15/240 [1/16] 240/255 [16/17] 255/240 [17/16]
tuning of the valves is the least useful of the four
3 48/240 [1/5] 240/288 [5/6] 288/240 [6/5]
possible double-tuba tunings. The high numbered
4 80/240 [1/3] 240/320 [3/4] 320/240 [4/3]
subharmonics are inconvenient for working in Just
5 40/240 [1/6] 240/280 [6/7] 280/240 [7/6]
Intonation, no significant extra qualities are offered
6 20/240 [1/12] 240/260 [12/13] 260/240 [13/12]
for exploring microtonality that are not offered by
the other double-tuba tunings, and if the aim is to would then be tuned significantly too high. The most
approximate the 12 pitches of the chromatic scale, obvious solution to this problem would be to tune
this has already been effectively brought about by the open F tube tempered - although this would
the 'Double-Tuba 240 Tuning', as shown in Figure 8. imply that E9, the theoretical starting pitch of the
It is therefore only the double-tuba tunings based on undertone row, would be tuned 12 cents flat, this
divisions of the open F tube into 45,60 and 240 parts would not matter if the aim were to approximate equal
that are explored in this article. temperament rather than work in Just Intonation.
Figure 21 illustrates the relative proportions of Tuning to a tempered F would however have the
tube lengths for the 'Double-Tuba 240 Tuning'. The disadvantage that no tempered As would be playable
proportions of the open tube length added by each on any standard fingerings, which would clearly be
valve, together with the associated ratios between the an issue when playing in any ensemble that used A
initial and combined lengths and the corresponding as its reference tuning pitch. The second solution is
musical intervals by which the pitch is lowered, are therefore to continue to define the tempered pitch
listed in Table 7. Figure 22 shows the descending as A3, but to reference it within the tuning chart as
fundamentals that result when the six valve tunings the sixth harmonic of the 285th subharmonic, valve
in Table 7 are used in combination with one combination 1+2.
another. The 'virtual instrument' that symbolizes
In the ascending chart of the first octave of the
the beginning of the undertone row is 1/240 of the
'Double-Tuba 240 Tuning' shown in Figure 23, all
length of the open F tube. The pitch corresponding
three options are indicated through the various
to this length, E9, is therefore defined as the 1/1cent indications. Unbracketed cents indicate the
of the
undertone row, whilst the open F tube fundamental
tempered pitch defined as F3, referenced within the
that marks the beginning of the real undertone row as
chart is the fourth harmonic of the open F tube.
the 240th subharmonic of this theoretical 1/1.Cents in round brackets indicate the tempered pitch
If the 'Double-Tuba 240 Tuning' is to be used to as A3, referenced within the chart as the sixth
defined
approximate equal temperament, the issueharmonic
again of the 285th subharmonic. Cents in square
arises as to which pitch should act as the tempered
brackets also indicate the tempered reference pitch
reference pitch. For the first two double-tuba defined
tunings as A3, but now again referenced within the
this was defined as A3, referenced within thechart
tuning
as the fifth harmonic of the open F tube. This
charts as the fifth harmonic of the open F tube. But
last cent notation makes possible direct comparison
if the aim is to approximate equal temperament,
with the 'Double-Tuba 45 Tuning' and the 'Double
this is an inappropriate choice, because theTuba
open60 Tuning' ascending tuning charts.
F fundamental, along with the other pitches of thea complete ascending chart, it is now possible
Using
chromatic scale when played on standard fingerings,
to see how closely the tempered chromatic scale may
49 50 51 52 53 54 55 56
m
\>-+ \>-* l>^
-13 -26 -47
oo •• om <>•
4oli oil 416® 413* 4,8 42!:

+2
(■*■)
57 58 59 60 61 62 63 64
+24 +12 +14 +39
m
(the theoretical
WW WW WV WW WW
undertone row
ill si: 4,8 448 458 4s8 78 starts at E,)
Figure 22. Descending series of fundamentals for the 'Double-Tuba 240 Tuning'.
2 3 8
+25(+21)[+39] +0 [+14J +39(+34) (+12J +11 (+6) [+24]
m
b-# \>-* Inr \>w
-19 (-23) [-5] (-4) [G: -47] -41 (-46) [-28] -22 (-26) [-8] -K-6)
•• •0
js
•• o« •0
#•
?• 42S«
473S 458» 453* 443« 43I* 43!* 42|:
9 10 11 12 13 14 15 16
+19(+14)[+33] +39 (+35) [+8] +3 [+16] +24 (+20) [+38]
i
1
hr !?-• \>+ III I?-* b-* I*-*
-40 (-44) [-26] -27 (-32) [-13] -19 (-23) [-5] -6 (-10) (-2)
[Ab: -47] •0 •• oo
om
?• To ?•
410* 4oi» 40S* 4ol:
4,1: 413*
17 18 19 20 21 22 23 24
+37 (+33) +46 (+42) [+5] +4 (+0)1+18] +14 (+9) [+27]
m
V+ !?♦ Ik Ik
[A: -49] [A:-40] -41 (-45) [-27] -32 (-36) [-18] -18 (-23) [-5] -9 (-14)
•o
•o oo
„!i si: 3s!: Ji
25 26 27 28 29 30 31 32
+27 (+23) [+41] +37 (+32) (+46) [+12] +8 (+3) [+21]
m
V*
IK tK -40 (-44) [-26] -26 (-30) [-12] -16 (-2!) [-3]
\>-V
-2 (-6)
• O
[Bb: -50] Bb: -49 [Bb: -36] o« •o
o«
„?S
375« 3S|! 3 .S
373o 370*
33 34 35 36 37 38 39 40
+22 (+18) [+36] +32 (+28) [+46] +47 (+42) [+11] +7 (+3) [+21]
m
ifir b-» Ip"
oo o* [B: -39] -43 (-48) [-30] -28 (-33) [-15] -18 (-23) [-5] -3 (-7)
3 s8 3slS To ?• To
3450 343o 340*
41 42 43 44 45 46 47 48
+23 (+18) [+36] +33 (+29) [+47] +49 (+44) +2 [+16] +13 (+8) [+26]
IP" -14 (-19) [-1] (-2)

(C: -38] -41 (-45) [-27] -25 (-29) [-11]
0«
oo
3315
nil
49 50 51 52 53 54 55 56
+29 (+25) [+43] [+10] +14 (+9) [+27] +43 (+38)
W
-43 (-48) [-29] -32 (-36) [-18] -15 (-19)[-1] -4 (-8) [D: -44] -28 (-32) [-14]
•• OO OO
3,11 .,8 30lS 3olo
57 58 59 60 61 62 63 64
+2 [+16] +33 (+29) [+47] [+10] [+9] +0 [+14]
[>"#"
-36 (-40) [-22] -4 (-8) -39 (-43) [-25] -5 (-9) (-4)
-16 (-20) [-2] (-2)
o ■ oo oo
oo o»
28I§ 2sli 17» »8 24ft
Figure 23. Ascending chart of the first octave of the 'Double-Tuba 240 Tuning' extendingfrom F0 to F,.
+4(+0)
Irw
-4 (-8) \}-w \?-+ V
-4 (-8) (-2) -5 (-9) 1
(-2) •2 (-6) -3 (-7)
O* OO (-4) (-2)
-1 (-6)
?§ ?o •• .o 22 !§ QO 28
5f: 42|j 4oI* 38
270o 255o
+4 (+0)
!>♦
-4 (-8)
w -4 (-8) -S(-9) (-4)
-I (-5) (-0 -2 (-6) -2 (-6) -3 (-7)
(-2)
oo oo
zsli 2«li
4*
-4 (-8) (-2) -4 (-8) -5 (-9) (-4) -11 (-16) -18 (-22) -19 (-23) -14 (-18) -2 (-6) -3 (-7)
oo
Boll »!§
+4(+0)
|»# -V—
-1 (-5) (-D -2 (-6)
^ ^ jit bg ^ ^ ^
\>-+
-4 (-8) (-2) -4 (-8) -5 (-9) (-4) -1 (-5) (-D -19 (-23) -14 (-18) -2 (-6) -3 (-7) (-2)
OO OO o« 00
,)8 .»s
O*
30?o >li8
+4 (+0)
k*.
-2 (-6)
oo
2jf§
,iSi
Figure 24. Standard fingerings plus standard alternative fingerings for the ascending chromatic scale based on the
'Double-Tuba 240 Tuning', extending from C, to C5.
be approximated using the six-valve tuba throughout 240 Tuning' contains 64 fundamental pitches, the
its standard range from C, to C5. This is shown in 'Double-Tuba 60 Tuning' contains 48, and the 'Double
Figure 24. Only the first two cents indications are Tube 45 Tuning' 40. For this reason the 'Double-Tuba
given, as these are the two appropriate reference 240 Tuning' is the most microtonal of the three
tunings for approximating equal temperament. tunings, making it the most appropriate of the three
It is clearly possible to approximate very closely tunings if tempered divisions of the octave other than
indeed to the chromatic scale using the 'Double 12 (for example quartertones) are required. The other
Tuba 240 Tuning'. When the tempered pitch is two tunings are nevertheless useful if the aim is to
defined as F3, referenced within the chart as the work in Just Intonation rather than to maximize the
fourth harmonic of the open F tube, no pitch deviates number of microtones available or approximate equal
more than five cents from tempered tuning. When temperament. Although they contain fewer pitches,
the tempered pitch is defined as A3, referenced they also contain a lower percentage of high prime
within the chart as the sixth harmonic of the 285th numbers than the 'Double-Tuba 240 Tuning'.
subharmonic of the undertone row, no pitch deviates Although some composers have experimented
more than nine cents from tempered tuning. with using higher prime numbers, those higher
Each of the three double-tuba tunings has qualities than 23 are not of obvious musical significance
that may be selected according to what best suits when working in Just Intonation. The subharmonics
any specific musical situation. The 'Double-Tuba which form the fundamentals of the 'Double
Table
Table8.8.Subharmonics
Subharmonicsof the
of 'Double-Tuba
the 'Double-Tuba
45 Tuning'
45 Tuning' Tuning' contains 21 prime numbers higher than
based
basedon
onprime
primenumbers
numbers
23 and
23 less,
and arranged
less, arranged
according
according 19, leaving a total of 27 undertones of obvious use
to
to their
theirprime
primelimits.
limits. when working in Just Intonation. These undertones
Prime are arranged in Table 9 according to their prime
2 3 b 7 11 13 17 19 23
limit limits. The undertone row of the 'Double-Tuba 240
Sub 64 48 45 49 55Tuning' contains 35 prime numbers higher than 19,
52 68 57 69
harmonic 54 60 56 66leaving a total of 29 undertones of obvious use when
65 76
number 72 75 63 77 78 working in Just Intonation - only two more than the
81 80 70 'Double-Tuba 60 Tuning', despite containing 14 more
90 84 fundamental pitches. These undertones are arranged
in Table 10 according to their prime limits.
Table
Table9.9.Subharmonics
Subharmonics
of theof
'Double-Tuba
the 'Double-Tuba
60 Tuning'60 Tuning'
It is the 'Double-Tuba 60 Tuning' that provides
based
basedonon
prime
prime
numbers
numbers
23 and23
less,
andarranged
less, arranged
according according
the most even distribution of fundamental tones
to
to their
theirprime
prime
limits.
limits.
Prime useful for Just Intonation. If working in seven
2 3 b 7 11 13 IV 19 23
limit Just Intonation however, the 'Double-Tuba 45
limit
Sub 64 72 60 70 77 6b 68 76 69 Tuning' makes a wider range of useful fundamental
harmonic 81 7b 84 88 78 8b 9b 92
tones available. The fact that the 'Double-Tuba 240
number 96 80 98 99 91 119 114 lib Tuning' contains only one three-limit fundamental
90 10b 110 104 tone and adds so few more fundamentals of obvious
100 use for Just Intonation compared with the other two
tunings suggests that it is more appropriate for 12
Table
Table 10
10. Subharmonics
Subharmonicsofof 'Double-Tuba
thethe
'Double-Tuba
240240
tone equal temperament and tempered microtonal
Tuning' based
Tuning' based onprime
on prime numbers
numbers 23 and less,
less, arranged
arranged
tunings than for Just Intonation. On the other hand
according
according to
to their
theirprime
primelimits.
limits.
the seven five-limit pitches of the 'Double-Tuba 240
Prime
2 3 b 7 11 13 17 19 23 Tuning' might be useful within the context of Just
limit
Intonation, as the fifth and tenth harmonics of these
Sub -
288
240
280 275 260 255 285 345
harmonic
fundamentals would provide a three-limit series of
270 315 308 325 340 323 368
number fifths to which the other pitches could be referenced.
300 343 330 338 425 380
320 350 363 390 418

Apart from the actual pitches they make available,
360 378 385
each of the three double-tuba tunings has other
375
qualities that may be put to compositional use.
405
With its fundamentals starting at 45 and finishing
roundly at 90, the 'Double-Tuba 45 Tuning' is the
Tuba 45 Tuning' contain 16 pitches based on most mathematically elegant of the three tunings.
such higher prime numbers, leaving a total of 24
Because valve combination 2 + 3 is synonymous to
fundamental pitches of obvious use when working
valve combination 5 + 6, it is also possible to simulate
in Just Intonation (although as the subharmonic
a double tuba in F and C equipped with three valves
90 is simply an octave lower than subharmonic
on each side, equivalent to the B!> and F structure of
45, it could be argued that the actual number of a double horn (assuming each side of the horn is also
useful pitches is in fact 23). These subharmonicsdivided into fifteen parts). This is shown in Figure 25.
are arranged in Table 8 according to their prime The 'Double-Tuba 60 Tuning' also has specific
limits. The undertone row of the 'Double-Tuba 60 qualities that make it interesting for working in
^ +14 +2 +4 +16 +31
\>-+ lnr
oo
-3 If*
oo -2
J
o* oo o»
.8
o« oo o«
,8 si! J .IS e&§ si!

+16 +4 +0 +6 +18 +33
+y.
V~.
•
^ o
^ ts
^
!5
b*
92 oo
^ mo
bw >o
Figure 25. Fundam

system of a double h
Just Intonation, particularly the fact that its fifth the alternative fingerings, introduced to correct
and sixth valves when used independently from the the tuning deficiencies of the shorter tube lengths,
other valves introduce the prime numbers seven is this principle broken. Whilst sudden changes in
and thirteen into the undertone row. It also has thetimbre might be something that could be featured
potential advantage of containing the 16/15 tuning when composing for the microtonal tuba, it would
clearly be beneficial if this could be a deliberate
of the semitone on the F side and the 17/16 tuning of
the semitone on the C side of the tuba. choice, rather than by default of the tuning system.
The historical connection of the 'Double-Tuba 240 It is revealing in light of this issue to contrast the
Tuning' to the Wieprecht-Moritz tuba (used withoutcontemporary standard fingerings of the chromatic
scale in Figure 24 with Wieprecht's proposed
the third valve its tuning is in fact identical to what
would be the most logical tuning of the Wieprecht
fingerings shown in Figure 5. Wieprecht's fingerings
Moritz tuba) is also something that might beactually have much more in common with the
explored compositionally. ascending microtonal chart shown in Figure 18
With so many microtonal possibilities available
than with the contemporary standard fingerings,
on the standard six-valve F tuba, it might seemregarding each step in ascending chromatic scale
superfluous to set about opening up yet more byas playable on a variety of different overtones of
designing an instrument specifically for micro the fundamental pitches, rather than opting for the
tonality. A significant practical advantage of the shortest available tubing length.
double-tuba tunings is that they do not involve any The microtonal tunings available on a standard
tuba all contain gaps at the beginnings and ends
alterations to the basic structure of the tuba, as they
of the undertone rows that form the fundamental
are all accessible simply by adjusting the valve slides.
pitches. These may only be filled by lipping the
The tunings are therefore readily available to anyone
neighbouring pitches up or down to simulate
playing a standard six-valve F tuba. Yet on closer
the missing undertones, or by using half-valves
inspection the microtonal tunings available on the
standard tuba do have some severe limitations. (depressing one or more valves halfway between
Perhaps the most serious of these is that thatfully depressed and undepressed), both of which
have a major effect on timbre.
many of the microtonal pitches in the high register
are only playable using valve combinations that A more serious limitation of the double-tuba
imply long lengths of tubing. This leads to several tunings from the player's perspective is the lack of
problems. The first is the resulting loss of securityapparent logic in the order of valve combinations.
- because the overtones are so close together when As long as the F and C sides of the tuba are treated
played on long tubing lengths, the risk of crackingseparately the logic remains clear, but when they are
notes is greatly increased. Playing high pitches oncombined the fingerings become very hard to grasp
long lengths of tubing also makes it hard to correctintuitively, as the sequence of valve combinations
any deviations between theoretical and actualfollows no easily recognizable pattern. This makes
tuning values by lipping the note in tune. Asthe
a charts very hard to internalize, a particularly
general rule, the lower the pitch and the shorter the severe limitation within the context of microtonal
improvisation.
tube length used, the easier it is to adjust the tuning
with the lips. This compounds the initial problem of Finally, not all overtones of all valve combinations
resonate freely. This should come as no surprise, as
security. Finally, the timbre of tones played on long
it is only the standard fingerings of the chromatic
lengths of tubing is significantly different from those
played on shorter tube lengths. Whenever a valve scale that are of concern to the maker of standard
is depressed it must necessarily alter the profile instruments,
of uninterested in the tuba's microtonal
the instrument, reducing the average conicity by potential. Though the resonance of troublesome
introducing cylindrical tubing. The more valves arenotes may be improved to some extent with practice,
used, the greater the change to the profile, and thethe sheer number of new notes available makes
greater the influence on timbre. it impractical to give each one sufficient practice
A brief study of Figure 24 reveals that the basic time. It is clear that this issue would also need to
be addressed in designing a tuba specifically for
principle behind standard fingerings is to use always
microtonality.
the shortest possible length of tubing, thus providing
maximum security and ensuring that neighbouringA good place to start in designing such a tuba
pitches are played on similar lengths of tubing. Thismight be with the original Wieprecht patent. All
enables transitions between neighbouring pitches of the tunings so far described may be traced back
to Wieprecht's decision to introduce a second
to be as smooth as possible. Only in the case of
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 1/22 (1/1)
+2
+14 +2 +4 +16 +31
tM3z
g fa*
-2 ~ 9 a' (the theoretical
fingerings: 0211 j 2 1 1 undertone row starts
3
at E5)
Figure 26. Tuning valves one, two and three so as to add 2/1S, 1/5 and 4/15 of the open F tube respectively makes it
possible to descend one step further in the undertone row to the 22nd subharmonic (compare with Figure 14).
length of tubing pitched in F, a perfect fourth surprisingly, he made no attempt to adapt tubas
higher than the original C tube length. Wieprecht's with more than four valves, leaving the microtonal
reason for introducing this length of tubing was to potential of instruments equipped with five or six
make available all pitches of the chromatic scale valves unexplored.
throughout the entire range of the instrument. As That Martin Vogel's brass instruments never
the present intention is to design a fully microtonal gained widespread use is due at least in part to their
tuba, rather than approximate the 12 pitches of the elaborate but impractical design. Through means of a
chromatic scale, it is worth asking whether this lever, operated by the left hand in the case of the tuba,
design remains the most useful one. the player was to adjust all of the valve slides whilst
This question is in fact answered very effectively playing. The second valve could be adjusted between
in an attempt to design a microtonal tuba that lowering the pitch by the semitones 19/18, 17/16
was made in the 1960s-70s by the German music and 16/15 (although 18/17 would clearly also have
theorist Martin Vogel. Vogel adapted a wide variety been possible, it is not included in Vogel's fingering
chart for the four-valve enharmonic F tuba).21 A
of musical instruments for Just Intonation, including
the valved brass instruments of the standard mechanism interconnecting the four valve slides
orchestra (trumpet, horn and tuba).20 Arguingallowed
that valves one, three and four simultaneously
to of
the valves be designed so as to form the ratios lower
thethe pitch by musical intervals two times,
arithmetic series 1:2:3:4:5...n when combined with
four times and eight times larger than the semitone
one another, rather than attempting to approximate
intervals respectively, thus maintaining the binary
equal temperament, he proposed a 'binary' valveproportions between the valve slides for each tuning
tuning (although he himself never actually uses thisof the semitone.
term), in which the length of each consecutive valve This system makes extreme virtuosic demands
on the player, and the mechanism required for the
slide is double that of the preceding one. The second,
first and third valves thus form the ratios 1:2:4,
constantly shifting valve-slides is intricate and
rather than 1:2:3 as in the 'Double-Tuba 45 Tuning'
expensive. Attaching such a trigger to the valve
and 'Double-Tuba 60 Tuning' described above. The slides also entails the problem of air pressure
synonym between valve combinations 1 + 2 and 3 isbuilding within the valve slides as they are adjusted
thus avoided, making it possible to descend one step- although this problem is addressed in Vogel's
instruments through the inclusion of holes in the
further in the undertone row, as shown in Figure 26.
Vogel proposed extending this tuning system valveto casing to allow the air to be released, the need
include the fourth valve. The lengths added by the for this measure adds further to the fussiness of the
second, first, third and fourth valves thus form thedesign. Another problem is that it is not possible
ratios 1:2:4:8, meaning that the fourth valve to
is alternate between the microtonal tuba and the
tuned to lower the pitch by a larger interval than
traditional valve tuning, which would clearly be of
the perfect fourth proposed by Wieprecht. Vogel great practical benefit, giving the player the option
appears to have been unaware of the historical
of switching between the traditional and microtonal
significance of this break with the perfect fourth
tuning systems on the same instrument.
tuning, noting simply that the fourth valve of most Leaving the problems associated with the slide
commercially available instruments lowers the
mechanism aside, it is easy to see how the concept
pitch by a perfect fourth. of binary valve tuning could be applied to the first
Named the 'enharmonic tuba', Vogel adapted afour valves of the contemporary six-valve F tuba. All
three-valve F tuba, a four-valve F tuba, and a three
that is required is to replace the traditional third and
valve B!> tuba for this tuning system. Somewhat fourth valve slides with alternative elongated valve
20 Vogel, On the Relations of Tone, pp.375-386.

21 Vogel, On the Relations of Tone, p.382.
* length added by second valve
1 length added by first valve
1 length added by third valve
I length added by fourth valve
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
= 1 l I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I i I I i I I I I i I I I I i I I I I I
012345678 9 1011121314151617181920212223242526272829303132333435363738394041424344454«474S495051525354555«57585960
h—I length added by fifth valve

M length added by sinh valve
Figure 27. Proportions of the open F tube length added by the six valves for the 'Binary-Tuba 60
slides to accommodate the larger intervals. with this alternative pair of valves. This makes
Because
the third valve slide is now tuned to add twice theit possible to alternate between the standard and
binary tuning systems without the need for two
length of tubing added by the first valve, the previous
restriction that it could not add 16ths of the openseparate
F instruments.
tube, due to the problem of having to cut into the As outlined above, two potential tunings are
tubing of the instrument, no longer applies. It mayavailable using the first four valves of this tuba,
one based on a semitone tuning of 16/15 and the
be tuned to add either 4/15 or 4/16 (= 1/4) of the open
F tube length, and the fourth slide may be tunedother
to based on a semitone tuning of 17/16. The
add 8/15 or 8/16 (= 1/2) of the open F tube length.corresponding tunings for the eighth-tone valve are
This means that two undertone rows are available 61/60 and 65/64. Although the eighth-tone valve
using the first four valves, one based on a semitone
length is too short to allow a tuning slide to be fitted,
tuning of 16/15, and the other based on a semitonethe difference between these two tunings - just two
tuning of 17/16. cents when the valve is used independently, and
even less when used in combination with the other
The question now arises of how the fifth and sixth
valves might fit into this binary valve tuning.valves
The - makes it possible for a single non-adjustable
eighth-tone valve to serve the dual purpose of
first four valves, arranged from shortest to longest
length, form the ratios 1:2:3:4. Multiplying thislowering the pitch of the open F tube by both 61/60
by four gives 4 : 8 : 16 : 32. This leaves room for andtwo65/64. The tubing required for the quartertone
smaller whole number valve divisions, leading to valvethe is sufficiently long to allow for the fitting of a
ratios 1:2 :4: 8:16: 32. Number 4 within this series, tuning slide, making it possible to adjust between
previously number 1 in the four-number series, now the corresponding quartertone tunings of 31/30 and
signifies a semitone. Number 2 therefore signifies a 33/32.
quartertone and the number 1 an eighth-tone. And Following the example of the double-tuba tunings
it is as quartertones and eighth-tones that the fifth available on the standard six-valve tuba, these two
and sixth valves fit into the six-valve binary tuning 'binary-tuba' tunings may be distinguished from one
scheme. another according to their divisions of the open F
The process of equipping valves five and six withtube. So, the tuning based on the 16/15 semitone is
the shorter valve slides necessary to lower the pitch referred to as the 'Binary-Tuba 60 Tuning', and that
respectively by a quartertone and an eighth-tone isbased on the 17/16 semitone as the 'Binary-Tuba 64
considerably more involved than that of equippingTuning'.
valves three and four with longer valve slides. It is The proportions of the open F tube length added
not possible simply to replace the existing fifth and by the six valves for the 'Binary-Tuba 60 Tuning' are
sixth valves slides with shorter slides, because the illustrated in Figure 27.
remaining tubing connected directly with the valve Table 11. The proportions of the open F tube added
casing remains much longer than the tubing lengths by each valve for the 'Binary-Tuba 60 Tuning', the
required for the desired tunings. In the case of the associated ratios between the initial and combined
eighth-tone valve the required length of tubing is so lengths, and the corresponding musical intervals by
short that it must re-enter the valve casing almost as which the pitch is lowered.
soon as it exits from it, leaving insufficient length to Valve Proportion Ratio between Musical
which to attach a tuning slide.
The only viable solution is to replace the fifth and 1 8/60 [2/15] 60/68 [15/17] 68/60 [17/15]
2 4/60 [1/15] 60/64 [15/16] 64/60 [16/15]
sixth valves themselves with a new pair of valves
3 16/60 [4/15] 60/76 [15/19] 76/60 [19/15]
specifically built to lower the pitch by a quartertone
and eighth-tone respectively. By constructing a 4 32/60 [8/15] 60/92 [15/23] 92/60 [23/15]
screw mechanism directly below the sixth valve, 5 2/60 [1/30] 60/62 [30/31] 62/60 [31/30]
6 1/60 60/61 61/60
valves five and six may be detached and replaced
3_=
•o
J .8
10 11 12 13 14 15 16
M ,11
M
17 18 19 20 21 22 23 24
,8
sTi .8
25 26 27 28 29 30 31 32
ell
,8
33 34 35 36 37 38 39 40
b-#
•o
,8 .8
41 42 43 44 45 46 47 48
+45 +28 +12
b-* !>♦
o*
•22 -39
,oTI
,«8 ,olI loll ,08
49 50 51 52 53 54 55 56
+49 +33 +18 +2
\>-v hr Vw
•o OO oo •o -13
„8 „b „8
*o
n Is
iol: ,,8
+2
57 58 59 60 61 62 63 64 (♦)
(the theoretical
undertone row
„8 ,,8 „8 „8 ul: starts at E,)
Figure 28. The descending undertone row of fundamental pitches for the 'Binary-Tuba 60 Tuning'.
i length added by second valve
> length added by first valve
I length added by thud valve
i length added by fourth valve
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
f tube | I I I I I I 11 I I I
01234S678 9 10ni21314151«17W19202122232425262728293031323334353«373g394041424344454«474849505152S35455S«575859606162S3W
I—-H length added by fifth valve
I—| length added by sixth valve
Figure 29. Proportions of the open F tube added by the six valves for the 'Binary-Tuba 64 Tuning'.
The proportions of the open tube length added

the question of which pitch best functions as the
by each valve, together with the associated
temperedratios
reference pitch. As the open fundamental
F, is and
between the initial and combined lengths now the
the64th subharmonic of the undertone
corresponding musical intervals by which row,
theit pitch
no longer makes sense to tune it to a tempered
is lowered, are listed in Table 11. A in any ratio involving the prime number five, as
The descending undertone row that arises was the from
case with the tunings based on the division
the various combinations of the six valves is shown
of the open F tube into 45 (= 32 x 5), 60 (= 22 x 3
in Figure 28. It is revealing to compare Figurex 28
5) and 240 (= 24 x 3 x 5) parts. As 64 = 26, the
theoretical pitch from which the undertone row
with the descending undertone row of the 'Double
Tuba 60 Tuning' shown in Figure 20. In terms of the
begins is F7, six octaves higher than the fundamental
Fj. F is therefore the most obvious pitch class for the
resulting pitches they are very similar. Apart from
the 'Binary-Tuba 60 Tuning' containing no gapstempered
at reference pitch. As was the case for the
tempered tuning of the 'Double-Tuba 240 Tuning',
the beginning and end of its undertone row, which
extends down to subharmonic 123 rather than F3 is chosen as the tempered reference pitch, defined
in relation to the chart as the fourth harmonic of
stopping at 119, the microtones contained within
the open F tube. In Figure 30 it is only the cents
the two tunings are identical. But an examination
of the fingerings reveals how different the two
deviations resulting from this tempered reference
tunings are from a playing perspective. Whereas
pitch that are shown.
the valve combinations in Figure 20 lack any The
easily
two binary-tuba tunings so far described go
recognizable logical order, the repetitive pattern
a long way towards solving the problems associated
withbethe double-tuba tunings. The microtonal tuning
followed by valves five and six in Figure 28 may
of valves
grasped instantly. This makes the 'Binary-Tuba 60 five and six reduces the need to use long
Tuning' much easier to learn, memorize and use of tubing for microtonal tunings in the high
lengths
intuitively than the 'Double-Tuba 60 Tuning'. register. It also fills in the gaps that are present at the
beginnings
The proportions of the open F tube length added and ends of the undertone rows of the
double-tuba
by the six valves for the 'Binary-Tuba 64 Tuning' are tunings. And, as long as there is no need
illustrated in Figure 29. to fill the space between the undertones themselves,
The proportions of the open tube lengththe added
fingerings follow a clearly recognizable pattern
by each valve, together with the associatedthat
ratios
is relatively easy to learn.
between the initial and combined lengths andIf, the however, there were a need to fill the gaps
corresponding musical intervals by which the between
pitch consecutive undertones, the problems
is lowered, are listed in Table 12. associated with the double-tuba tunings remain only
The 'Binary-Tuba 64 Tuning' once again raises partially solved. Solving them fully implies finding
Table
Table 12.12.
TheThe
proportions
proportions
of the open
of Fthe
tubeopen
added by a way
F tube added byof making every conceivable pitch available
each
eachvalve
valve
for for
the 'Binary-Tuba
the 'Binary-Tuba
64 Tuning', 64
the Tuning', throughout the entire range whilst retaining the
associated the associated
ratios
ratios between
between
the initial
the and
initial
combined
and lengths,
combinedand the logicthe
lengths, and of the binary tuning system.
corresponding
corresponding musical
musical
intervalsintervals
by which the
bypitch
which The
is the pitch is largest gaps that remain between the
lowered.
lowered. undertones of the two binary tunings so far described
Valve Proportion Ratio between Musical are the eighth-tone 61/60 (= 29 cents) in the case of
the 'Binary-Tuba 60 Tuning' and the eighth-tone
1 8/64 [1/8] 64/72 [8/9] 72/64 [9/8] 65/64 (= 27 cents) in the case of the 'Binary-Tuba
2 4/64 [1/16] 64/68 [16/17] 68/64 [17/16] 64 Tuning'. As an alternative to depressing the
3 16/64 [1/4] 64/80 [4/5] 80/64 [5/4] sixth valve, the pitch of the open F tube may also
4 32/64 [1/2] 64/96 [2/3] 96/64 [3/2] be lowered by these intervals by withdrawing the
5 2/64 [1/32] 64/66 [32/33] 66/64 [33/32] main tuning slide by approximately 3.6cm and 3.1cm
6 1/64 64/65 65/64
respectively. Through attaching a slide mechanism
164 The Galpin Society Journal LXIV(2011)
m "W7" W
•o
90
6*0
tTI
10 11 12 13 14 15 16
{>-0 W
-4 -28 ■42
om o«
,8
mm
78 78 7I! 7!! M 78
17 18 19 20 21 22 23 24
g w
-12
•o
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25 26 27 28 29 30 31 32
,8 ,8
33 34 35 36 37 38 39 40
+27 +10
22 «o *o
,8 ,8 io7s 10fi ,08
41 42 43 44 45 46 47 48
1
\>-+ !>-*•
-22 -38
P
om mm
o«
o« fO 00
ioIs 10^ '"S 107» ,08 118
49 50 51 52 53 54 55 56
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11I: hi: 11I: ,,fs 118
118
57 58 59 60 61 62 63 64 (*•)
+41 +27 +14
1
\>-i Vw \>t hr In (the theoretical
-31 -45
undertone row
"« 128 128 12!: ,28 ,28 starts at F7)
Figure 30. The descending undertone row of fundamental pitches for the 'Binary-Tuba 64 Tuning'
(tempered reference pitch = F3).
slide position: 1
00 / too\
too +00
242o 24I0 :j§ (= 24ji)

Figure 31. Slide notation for the first four subharmonics of the 240-Binary tuning undertone row.
to the main tuning slide it is therefore possible to of the slide imply five slide positions. Following
simulate the function of the sixth valve with what the principal of trombone slide positions, the
might be described as a seventh 'sliding' valve.22 unextended slide position is named 'position one',
Through combining the fifth and sixth valves withthe quarter-extended slide position 'position two',
the semi-extended slide position 'position three',
the fully extended tuning slide, the pitch is lowered
by a full semitone (16/15 and 17/16 for the two the three-quarters extended slide position 'position
respective tunings), synonymous to depressing the four', and the fully extended slide position 'position
second valve. five'. These slide positions may be notated by the
It was observed at the beginning of this article addition of arrows to the fingering notation. The first
that the original Wieprecht-Moritz tuba could be five fundamental pitches of the descending 'Binary
regarded conceptually as a double tuba in F and C, Tuba 240 Tuning' undertone row are thus notated as
with the F side operated by the left hand and the Cshown in Figure 31.
side operated by the right hand. By operating the Though the 244th subharmonic would normally
slide mechanism with the thumb of the left hand, be played using the second valve, rather than the
this left hand / right hand structure is maintained combination of the fully extended slide plus valves
in the fully microtonal tuba, with the left handfive and six, it is nevertheless useful to be able to
adding lengths of tubing lowering the pitch of theextend the slide to its fifth position as it allows for the
open F tube by a semitone or less, and the right handpossibility of a full glissando between consecutive
adding lengths of tubing lowering the pitch of thevalve combinations.
open F tube by a semitone or more. This division When considering such high numbered sub
between the two hands makes the microtonal logicharmonics it is essential to remember that the sub
of the binary-tuning system extremely easy for the harmonic series is used here as an abstraction for
player to grasp intuitively. It also makes it very easydescribing valve combinations. It would be senseless
to seek alternative fingerings in the case that theto consider the 244th harmonic when discussing tuba
discrepancy between theoretical and actual tuningstimbre, as the series of acoustic impedance peaks
is sufficiently large as to render lipping a particular for musically useful tubes generally has around 15
note in tune inconvenient. 20 peaks of sufficient strength to support a centred
The slide may be subdivided to create furthernote. But when discussing valve combinations it is
tunings. By dividing the slide into two equal the differences in pitch between successive valve
parts,
combinations
the largest gaps contained within the two tunings are that is under investigation, and the
high numbered undertones are simply the result
halved respectively to 14.4 and 13.5 cents; dividing
of the
the slide into four equal parts halves them again to division of the slide into four parts. If the
slide were not taken into consideration then the
7.2 and 6.7 cents. Every conceivable pitch throughout
244th subharmonic would be referred to as the 61st
the tuba's entire range has now been brought within
subharmonic (61 = 244/4), as the starting point of
a theoretical lipping range of 3.6 cents, making
the undertone row would be two octaves lower. The
further subdivisions of the slide unnecessary. There
second
is no longer any need to use long lengths of tubing to (semitone) valve would lower the fundamental
fill gaps between neighbouring microtonal pitchespitch
in from the 15th to the 16th subharmonic if only
the first four valves were considered, from the 30th
the high register, as they are all now playable using
the shortest possible tubing lengths. to the 32nd subharmonic if the first five valves were
considered,
On the basis of this principle the 'Binary Tuba 60 from the 60th to the 64th subharmonic if
all six valves were considered, from the 120th to the
Tuning' and 'Binary Tuba 64 Tuning' are quadrupled
to become the 'Binary Tuba 240 Tuning' and128th
the subharmonic if the slide were divided into two
'Binary Tuba 256 Tuning'. The four subdivisions
parts, and from the 240th to the 256th subharmonic
22 Such a slide mechanism was first introduced by Adolphe Sax in his 1843 patent, and was also used in the Systeme
Detiege trombone mentioned above.
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Figure 32. Ascending chart for
- concluding part.
when the slide is divided into four parts, as is the closer to tempered tuning than the 'Binary-Tuba
case with the 'Binary-Tuba 240 Tuning'. In each 240 Tuning'. The tuning of valves one and two for
case the actual pitch referred to remains identical, the 'Binary-Tuba 256 Tuning' is also identical to
but the theoretical starting point of the undertone that of the standard tuba tuning as represented by
row is raised successively by an octave leading to a the 'Double-Tuba 240 Tuning'. This means that the
doubling of the subharmonic numbers. player is spared the additional effort of adjusting to
The ascending microtonal tuning chart for the valves one and two being based on the 16/15 tuning
'Binary-Tuba 240 Tuning' is shown in Figure 32. of the semitone, as is the case with the 'Binary-Tuba
Although directly comparable to the 'Double-Tuba 240 Tuning', the 'Double-Tuba 60 Tuning', and the
240 Tuning', only those cents deviations are given 'Double-Tuba 45 Tuning'.
that are based on defining the tempered pitch as A3, Having F3 rather than A3 as the tempered reference
referenced within the chart as the fifth harmonic
pitch makes it the more appropriate tuning when
playing only with other brass instruments, which
of the open F tube. Should the fully microtonal
tuba be used to approximate tempered tunings, are mostly tuned either in F or Bk The fundamental
tones of the 'Binary-Tuba 256 Tuning' include the
rather than for Just Intonation, the 'Binary-Tuba
256 Tuning' would be the more appropriate choice
series of Pythagorean fifths spanning F, Bi>, El>, Al>,
of the two tunings, rendering the inclusion of other
D\> and Gk Though the tuning contains no tempered
cents deviations in the 'Binary-Tuba 240 Tuning'
A, the 406th subharmonic, just two cents above a
unnecessary. tempered A, is sufficiently close for this not to be a
The first octave of the ascending microtonal
practical problem should this be used as the reference
tuning chart for the 'Binary-Tuba 256 Tuning' is in ensemble playing. Because it is conceptually
pitch
shown in Figure 33. The tempered pitch is defined
the most strictly binary of the two tunings, based
as F3, referenced within the chart as the fourth
simply on powers of two, it might also seem the more
harmonic of open F tube. appropriate tuning when working with computer
Although the 'Binary-Tuba 240 Tuning' and technology.
the
Finally, each of the independent valve com
'Binary-Tuba 256 Tuning' allow all pitches in the high
binations in the 'Binary Tuba 256 Tuning' offers
register to be played on consistent tubing lengths,
the complete ascending chart shown in Figureuseful 32 fundamental pitches for working in Just
Intonation
does not adhere absolutely strictly to the principle (and it is the fundamentals that are
significant in this regard, as their overtones will
of using the shortest possible lengths of tubing for
then also be useful for Just Intonation). As may be
every fingering. To do so would imply including the
seventh and eleventh harmonics of the fundamental derived from Table 12, the first valve when used
tones in the ascending chart, which would makeindependently produces a three-limit fundamental,
the second valve a 17-limit fundamental, the third
the fingerings much harder to learn, increasing
valve a five-limit fundamental, the fourth valve
the number of octave transpositions which require
a three-limit fundamental, the fifth valve an
different fingerings as well as adding to the number
of non-standard fingerings. Precisely the same 11-limit fundamental, and the sixth valve a 13-limit
fundamental. Depressing no valves produces a two
principle applies for the complete ascending chart of
the 'Binary-Tuba 256 Tuning'. limit fundamental. It is clear that the 'Binary Tuba
As was the case with the three double-tuba 256 Tuning' offers rich possibilities for working in
tunings, each of the two binary-tuba tunings both has
tempered tunings and Just Intonation.
qualities making it the more appropriate The choice
two binary tunings solve all of the problems
poseditby the double-tuba tunings except the one
depending on the musical circumstances in which
that is an inevitable consequence of microtonality
is used. The 'Binary-Tuba 240 Tuning' is particularly
useful when playing with string instruments, - theasextra
it demands on the player to practise and
contains within its fundamentals tones themaintain
G, D, Asuch a large number of different tones. The
problem is not as severe as in the case of the double
and E of the open strings, as well as the Ptolemaically
raised Al>, El>, B\>, F, C (subharmonic numbers
tuba405,
tunings however, partly because the clear logic
270, 360, 240 and 320), which may be tuned to the
behind the binary-tuba tunings makes it much easier
open C, G, D, A and E strings respectively. to form a clear overview of the various pitches and
If the aim is to use tempered tunings, the learn them methodically (for example, first the
'Binary
Tuba 256 Tuning' is clearly the more appropriate
pitches of
involving only the first five valves, then the
the two binary-tuba tunings, as the chromatic scale
first six, then the first six plus slide position three,
when unaided by the microtonal valves isand
much
finally all pitches might be learnt), and partly
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Continues on next page.
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because the consistency of tube lengths means that using consistent lengths of tubing, the technique
that pitches that do not resonate freely are avoided of drawing on all available overtones of each
- all pitches are just as easy to play as the pitches valve combination may still be applied to the
of the chromatic scale on the standard tuba. Some fully microtonal tuba. The difference is that
these alternative fingerings may now be used as a
pitches are in fact easier to play than on the standard
tuba. Whilst the pitches B2, C2 and Dl>2 on theconscious
six timbral choice rather than by default of
the tuning system. Similarly, lipping notes up and
valve F tuba are notoriously unstable using standard
down still remains an option for altering timbre,
fingerings, they remain perfectly stable and resonant
but such lipping is no longer necessary in order to
on both the binary tunings of the microtonal tuba.
In order for the fully microtonal tuba not fill
to gaps within the microtonal fingering charts. It
share the fate of the 'Saxhorn nouveau basse' or
is the exploration of the microtonal tuba's timbral
Vogel's enharmonic tuba, the benefits it yields
potential, through the use of alternative fingerings,
must be greater than the extra effort required lipping and half-valve techniques, that constitutes
to learn it. The fact that it is combinable with the
the next phase of research in exploring the full
standard tuba tuning means the new system may musical potential of the microtonal tuba.
be learnt alongside the traditional system, ratherSolving the problem of microtonality on the tuba
than requiring the player to abandon the standard
does not mean ironing out the idiosyncrasies inherent
fingerings. The principle behind the binary-tubain the double-tuba tunings available on the standard
tuba, but opens up the possibility of exploring them
fingerings is in fact considerably simpler than that
of the double-tuba tunings. The fully microtonal fully in their own right, rather than as by-products of
a tuning system originally designed to approximate
tuba makes it much easier to play any existing music
involving microtonal tunings, and enables musictheto twelve pitches of the tempered chromatic scale.
be made that would be inconceivable on the standard
***
tuba. It is likely that as this repertoire grows, so will

the demand to equip standard tubas with the fullyOriginally conceived by Robin Hayward
microtonal tuning system, which will in turn lead tothe first fully microtonal tuba was mad
more music being made for it. instrument makers B&S in 2009, with suppo
B&S and the Berliner Senat.
Though all conceivable pitches may be played

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The Microtonal Tuba

Author(s): ROBIN HAYWARD

The Microtonal Tuba

USA the CC instrument is often considered as

taking place in Berlin in

Figure 2. Annotated illustration of Wieprecht

First valve, lowering F tube by a whole tone

/Jrif/bc Third valve, lowering C tube by a whole tone

Fourth valve, lowering C tube by a semitone

S=J)tya/dse Fifth valve, lowering F tube by a perfect fourth

I / * ^ " /«C V " ^ iff:, tfhtucfuc ,

* c> ■ (♦) (!>♦) (v) (\?w)

Figure 4. Descending chromatic scale of fundamental tones on the Wieprecht-M

Translated into English, 'Es' refers to El>,

K Bevan, The Tuba Family, p.516.

Fifth valve, lowering C tube by a whole tone

Sixth valve, lowering C tube by a semitone

First valve, lowering F tube by a whole tone

Second valve, lowering F tube by a semitone

Third valve, lowering F tube by a minor third

Fourth valve, lowering F tube by a perfect fourth

Figure 6. Annotated picture of a contemporary six-valve tuba (B&S model 3100).10

1200 / log 2 x log [L0+1 / L0+1+2]

As the first valve is tuned to lower the pitch by a

It is now possible to calculate the extent to which

to tune the third valve so as to lower the pitch by

between the initial and combined lengths is now tempered

L0+i / L0+H3 = 12V22 L0 / (12V23 + W22 - 1) L0 1 200 0

= 12V22 / (12V23 + 12V22 - 1). 1 + 2 289 11

1200 / log 2 x log [L0+l / L0+1+3]

15 Bevan, The Tuba Family, pp.259-260.

16 A. Myers, The Cambridge Companion to Brass Instruments, pp. 129-130.

♦ (▼) (b») (♦> (te) (^}

Figure 7. Annotated descending chromatic scale of fundamental tones on the Wieprecht-Mor

It is only for the final three pitches of the 6 4/48 -

the frequencies of an undertone row form the(1/1): (2/1): 3/1: 4/1.

Because frequency is inversely proportional to

tube length: (1/1) (2/1) 3/1 4/1

Figure 9. The fundamental pitches of the F and C tubes

its frequency. that it would

(10/1) (li/i) (12/1) (13/1) (14/1) (15/1) 16/1 17/1

(1/10) (l/ii) (1/12) (1/13) (1/14) (1/15) 1/16 1/17

(the theoretical undertone

Figure 16. If the F and the C tubes are

tuned to add notation of valve

lengths and the corresponding musical intervals by O O 5 1

All valve combinations may now be calculated O 3

1 6/45 [2/15] 45/51 [15/17] 51/45 [17/15]

5 8/45 45/49 49/45

6 4/45 45/53 54/45

J! M s!l 5I§ sli

JU§ 6IS ell el? Js6?s 6$* JUUs Al 7fs7|i

MM A! AIM MAIM 7?U: ?ll Ai 79*

W ~w w hr bw \>T (the theoretical

Figure 17. Descending series offundamentals for the 'Double-Tuba 45 Tuning'.

and the third harmonic, B2, as

example, the fundamental Et in Figure 15, played by O •

depressing the second valve, would be notated as: 3 O

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