TubaForum.net

I've always been more attracted to treble clef instrument music than tuba music, which is often just idiomatic or "bet you can't play this" stuff.

Sure: we've all looked at the Arban book - and maybe Schlossberg (since there are bass clef trombone octave versions of those), but what about the other trumpet books - such as Clarke Characteristic and all the other stuff like that?

Admittedly, I haven't cracked those open and played through them, and I think I'm going to. I'm sort of getting tired of looking at the same old tuba etudes... even though revisiting them on the B-flat tuba is a somewhat fresh experience.

I'm thinking I'll play the trumpet stuff in B-flat treble clef, so as to preserve the original finger patterns.

y'all wrote:Geez bloke, you've never played those books?
It's about time .

Look at Walter Smith & Theo Charlier's etudes!

TJ

It's all in the public domain, so the only investment is that of time and determination.

Pottag selected etudes for french horn.
Tj

Bai Lin – Lip Flexibilities for Trumpet

LOL...
Y'all keep them coming, but I'm sure I'll croak before I get through the inevitable list that will be created here.

Mark wrote: ↑Tue Feb 21, 2023 7:36 pm Bai Lin – Lip Flexibilities for Trumpet

Bai Lin kicked my butt after I came back to tuba after a few years off. Very hard starting out, but man, it really works.

Scott Beleck - Modern Flexibilities for Brass
Vurm - multiple etude books
St Jacome - Grand Method for Trumpet
Cafferelli - 16 Etudes

Scott Beleck - Modern Flexibilities for Brass
Vurm - multiple etude books
St Jacome - Grand Method for Trumpet
Cafferelli - 16 Etudes

Studies, well, if you must, but why not play music (ie. tunes) instead? To be fair unaccompanied treble clef music for brass isn’t easy to find but it’s (IMHO) way more fun and even useful than exercises. Find a copy of the Cello Suites for Trumpet, that’ll put you through your paces and if you’re a really fancy player then play them down an octave. Clarinet music is quite good too, you’ll need a fourth valve for that though.

Stuff off some internet source for free is, of course, great. On the other hand buying used music off of eBay, etc., isn’t expensive and gives you more options.

yeah Joe, why don't you ever play music??

... I guess if I approached studies as if they were not music, I wouldn't like them.

alternative response:
Performance pieces present occasional technical challenges, whereas studies present nearly constant and specifically emphasized technical challenges.

tuba solos:
I just don't care for very many of them, because they've hardly been composed for a half century, and that's just not long enough to withstand the test of time (even when the corporate-think government teachers say that they have).
I've already mentioned - fairly often - some solo pieces that I play here at home...oboe...cello...violin...flute...etc... and just in case someone asks me to play a couple of pieces on some chamber recital of orchestra musicians, I try to keep a few of them ready. Also, I try to use good judgment, as there are quite a few pieces written for other instruments that would sound pretty silly played on the tuba.

Maybe to demonstrate that I'm not a complete stick in the mud, I have performed the Hartley Tuba Sonata, and in front of (not just a bunch of old orchestra patrons, but) some of my betters - who also play the tuba. I like that piece...and - even though the accompaniment was a disaster due to reasons already explained - I've also performed the J T Williams Concerto.

I guess it’s a case of ‘whatever floats your boat’, in my case I rarely enjoy playing studies but do enjoy playing unaccompanied tunes and challenging ones certainly have developed my playing. Of course I’m very much an amateur player and if I need to hone particular skills for a particular purpose then particular studies might be a way of doing that. My own mindset is that both practise and playing with others is only worthwhile if you enjoy it - or are being paid decent money to play, I am not paid to play and almost certainly never will be.

For folk like me, down at the low skill levels, Ace of Trumpets by Derek Bourgeios is quite entertaining to play - it’s an exception to my general experience of study books. In terms of unaccompanied music Larry Clark’s Bach Cello Suites for Trumpet has been enjoyable to play/attempt and, by a wide margin, has done more for my musical/skill progress than any book of studies.

I like Schlossberg and Charlier after Arban. I read the original TC books for these. I play Cichowicz and Stamp every day.

I also like Gallay (not the same book used by Robert King) and Kopprasch (yes, the same book used by Robert King) from the horn world.

Mostly I play from books of vocalises by a dozen or so 19th-century composers.

I really enjoy jazz/blues and i would like build skills in that arena. Not just baselines, melody and improvisation also. I had been looking for jazz/blues etudes. In my search i read a post where the person said just get a standards book and voila, ready made etudes. Havent dug into it yet. Im also thinking that the eb tuba im trying to get my hands on would be well suited for this..... pipedreams???...

Just my perspective on the subject you brought up....

Sent from my SM-J327VPP using Tapatalk

Rich Matteson would teach his students at North Texas to master a few dozen licks in all keys major and minor and then learn to string them together into solos. As they became more proficient, they could add more of them as well as quoting fragments of of songs and making things up on the fly.
If a person isn't able to hear the chord changes and know how to apply their licks though, that isn't going to work.

A subscriber to this list went to school there during that time and has expressed that they didn't think it was a very effective method, but it seems to me that it's something that works - just as Marcel Tabuteau's phrasing techniques also work for teaching people how to phrase.

I'm in awe of the late trombonist, Mr Fontana. I just don't think anyone will ever surpass him in the art of improvisation.

Bloke is just following Iroh's (from The Last Airbender) advice, that you must master your basics. Because ultimately strong fundamentals is what allows Bloke to be spitting fire when he plays!

Phil Snedecor's 1st lyrical etudes for trumpet is nice (never tried it on tuba, but like the trumpet etudes).

I haven't played them all, but when I discovered Clarke's Characteristic Studies, I thought they were really beautiful music. The Technical Studies will really work your technique out, but the Characteristic Studies are very pretty.
royjohn

the elephant wrote: ↑Wed Feb 22, 2023 4:13 pm I like Schlossberg and Charlier after Arban. I read the original TC books for these. I play Chjchowicz and Stamp every day.

I also like Gallay (not the same book used by Robert King) and Kopprasch (yes, the same book used by Robert King) from the horn world.

Mostly I play from books of vocalises by a dozen or so 19th-century composers.

Which Chjchowicz?

(or should I say, "whjczch Chjchowicz?")