Rapid #: -15452010

CROSS REF ID: 83537

LENDER: MVS :: Main Library

BORROWER: SUS :: Blough-Weis Library

TYPE: Article CC:CCL

JOURNAL TITLE: T.U.B.A. journal

USER JOURNAL TITLE: Tuba Journal

ARTICLE TITLE: Tuba pedagogy: preparing new etudes.

ARTICLE AUTHOR: BREWER, ROBERT GARY,

VOLUME: 19

ISSUE: 3

MONTH:

YEAR: 19920101

PAGES: 42-43

ISSN: 0363-4787

OCLC #:

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This material may be protected by copyright law (Title 17 U.S. Code)

Tuba Pedagogy: Preparing New Etudes
by Dr. Robert Brewer
American musicians sometimes are accused of being more
concerned with technique than any other aspect of brass pe1for­
mance, in some cases to the detriment of musicality. However,
the literature found on the subject suggests otherwise. In
comparison with the literature on breathing, embouchure and
articulation, the acquisition of technique is the subject of
surprisingly few authors. Most, in fact, give it little consideration
except to cite a few technique books or briefly discuss some of
their own practice habits. Richard Sorenson, in his study of early
tuba and ophicleide tutors and methods, found that the later ones
tended to provide less written explanation, depending more on
the private teacher to supplement that infonnation.1 Therefore, it
is probable that authors today depend on the knowledge base and
skills of the private teacher in matters concen1ing technique.
Etudes and technical exercises universally are used and recom­
mended by both authors and teachers for technical and musical
development. Skip Gray recommends several well-known
technique books that are universally accepted in aiding technical
development.2 But, authors rarely discuss how etudes should be
used or how they should be prepared, apparently leaving this
important aspect up to the private teacher and the student.
The question of how to prepare a technical exercise is not
discussed, perhaps because it is an individual matter with most
teachers. 3 For example. most students will work rather blindly at
etudes or technical exercises unless given a step by step method
for preparing them. The system described here is not the inven­
tion of the author, but instead,' that of the author's first private
teacher.4 Over the years some aspects of the system have been
refined and other steps added as a result of continued study in the
area.
The first step in preparing a new etude is to mark breaths and
phrases in pencil before playing a single note.5 Do not wait until
a problem is encountered. One can always makes changes, but it
is better to begin with a plan. This simple pre-performance step
can often save a considerable amount of practice time.
The second step is to sight-read the etude three times through
without stopping for minor mistakes. Sight-reading is beneficial
to all aspects of playing, including technique. Roger Bobo
advocates sight-singing of etudes to train the ear. 6 "Sight­
buzzing", an activity similar to sight-singing but using the
mouthpiece alone, is extremely beneficial also. Sight-reading
allows the achievement of t\vo primary goals. First, it establishes
the habit of continuity in sight-reading and helps break the habit
of stopping after every mistake, no matter how minor. John
Griffiths states that using a metronome can help improve sight­
reading and develop a strong rhythmical sense, as well.7 Second.
reading through the etude three times allows the performer to
identify trouble spots for extra work.
The tbird step is important and often forgotten. Mark tbese
trouble spots in pencil with parentheses immediately after
reading through the etude the third time. If this is done immedi­
ately, these spots will still be fresh in one's mind. After marking
the trouble spots, move on to the next etude and repeat these
three steps. Avoid the desperate desire to get busy on the trouble
spots right away. This is an admirable desire, but this work is
better saved for the next practice session when one's mind (and
embouchure) are fresh once again.
The fourth step takes place in the next practice session. Work
only on the marked spots until they are correct. For extended
technical passages such as those found in Baroque transcriptions,
break up the long sequences into smaller groupings with an
overlapping note. For instance, a long sixteenth-note run should
be broken up into groups of four plus the first note in the next
group of four. If practiced in this manner, connecting the groups
back together is much easier. Often this process .of practicing the
trouble spots takes only one practice session, however, as many
sessions as are needed to correct them should be used.
A very difficult passage requires a disciplined approach.
Encourage students to practice the trouble spots until they can
play them perfectly five times consecutively. Extended passages
of sixteenths, which are broken down in the manner described
above, may be practiced until the small groupings are performed
perfectly five times in a row. They should then be linked into
larger groupings and practiced until they are performed perfectly
three times consecutively. If fingerings are the problem, isolate
the patterns by practicing the fingerings without blowing. 8 But
heed this word of caution when taldng this disciplined approach
in eliminating trouble spots. If a student prone to impatience
begins "punching"' at the notes. then s/he should stop
immediately and "cool off' by getting a drink of water or by just
walking away from the practice room for a while. Impatience or
disgust at one's practice will produce nothing musicall Roger
Bobo states, "Impatience is the number one enemy of art."9
Relax! The objective is to MAKE music, not beat it into submis­
sion. If the passage is quite high, be sure to practice it down an
octave or even two octaves. This will give the embouchure a
chance to relax and the ear a chance to hear the intervals
correctly. While this approach can be very frustrating at first.
persistence and self-discipline will eventually re sult in a
rewarding performance.
The final step is to re-connect the piece once the trouble spots
have been eliminated. If tensing up at the marked spots still