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One of my universities still marches convertible tubas, where the tuba rests on the right shoulder and valves are operated by the right hand.

I have a non major student who plays another instrument learning the horn because she wants to march tuba next year. I’ve spent the term working with the upright valves as she learns the tuba and fingerings (hers is a Yamaha 105, many of the others are old Meinl Weston TA tubas that were converted). Out of all honesty, I can see why these instruments have been replaced by contras and sousaphones.

Today I had her put the marching leadpipe on and stand and noticed right away that she had wrist posture issues and said how her wrist was in a bit of pain. I had a small GW mouthpiece pouch that seemed to help elevate her wrist off the horn, and am thinking a pool noodle or similar foam contraption would help. I’m also going to have her try a larger horn to see if that relaxes the wrist.

Does anyone have any tricks of the trade that make marching with these easier?

Convertible tubas are the sporks of the music world. Consider the spork. It’s supposed to be two things, a spoon and a fork. But when you use it as a fork the tines aren’t long enough to do anything. And when you use it as a spoon the little tines jab your lips. So by trying to be two things, it succeeds at neither. That’s a convertible tuba to me, in a nutshell. Tries to be two things, but fails at both. I’m afraid I can’t advise you on “tricks of the trade”. They are what they are, and we humans have to adapt.

Ideally, bands would have separate concert horns and marching horns. But most programs aren’t that flush with disposable cash. Things are coming around now back to Sousaphones instead of contras. Not the best for concert but it can be done. You usually need to purchase those special chairs that hold them in place. Honestly, I really don’t understand why directors don’t just have their tuba players march with concert tubas and use the seldom used strap hooks supplied on most horns. Advantage: no change in posture or hand position necessary. Seems to work for British military bands.

Back in HS we marched convertibles. I wound up playing it like a lefty contra.

I agree with marching with concert tubas like the brits do if sousas are not available. I did some playing standing up with my old king recording bell tuba last year. I was concerned with the stability of the rings so i bought that neo tech harness. Its like a sling that the bottom bow sits down into and then clips to a padded harness. Was very comfortable and allowed optimal playing position. Only thing is i got the large tuba one, i think the medium tuba one would fit better for a true 4/4 horn.

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Unfortunately, we have tried to get the marching director to switch to either sousas or contras over the years without success, he seems to like these. It is a collegiate marching band, and the only ones I know of that march these. I know I would rather be like JSU and march the huge Conn 20Js (?).

My opinions have changed on this over the years. I've never really liked the 20K sousaphones. We had to work our butts off with the 22K fiberglass versions fifty years ago, because they're just aren't enough highs in the sound (due to being so large) outdoors to offer enough punch - without over the top playing efforts.

For a long time, I was a 14k/36k person, because that's what I grew up with, but the more I played King sousaphones with a smaller bore and a little bit smaller body, I think these are amazing. They are the most in tune, and offer the most clarity of sound - particularly outdoors. In the past, I used to think that most NOLA tuba players used King because that's what they could find, but I've become more convinced that they use those because they are the best. I suspect the contra thing is mostly a looks thing, and my opinion is that those who believe they offer the best sound on the field might be listening with their eyes.
Many band directors drone out the words "short action" in the same way that they drone out the word "Yamaha", but I think their eyes might be opened if they had a back-to-back sound tests - both indoors and outdoors - with King vs 20K sousaphones. I just wish that both King brass and fiberglass sousaphones were made as nicely as they were made in the fairly distant past. In my view, the brass ones have become too thin, the "fiberglass" (??) ones have become too heavy, and both are a bit hastily assembled. Jupiter sousaphones are modeled after King, but miss the mark (yeah: only in my opinion), JP sousaphones come closer to King, aren't as thin as currently made King, and feature valvesets built as well as those the 1960s and earlier King sousaphones featured. Someone can buy a pair of JP sousaphones with cases and shipped for about the same price as one King without a case and without shipping.

Haven't marched with a convertible since high school but if memory serves correctly there really is not much to be done about the horrible ergonomics of those horns. You can adjust the lead pipe a bit to try and get a more comfortable wrist angle, but ultimately they suffer from the same problem of any 2 in 1/combo device; it can do both adequately but neither very well, and in all likelihood will do one VERY poorly.

It never hurts to keep suggesting the switch to dedicated marching horns.....