TubaForum.net

I'm still working on getting the B-flat tuba fingerings (as they had been on C instruments, and are on F instruments) completely automatic (as I mostly laid down B-flat instruments a full half century ago, and am now picking them back up again...so I'm continuing to go back through old books (as well as more recently-composed etude books, and other music...Bach, etc.)

Anyway...as an old "chord" player, viewing passages - such as these - in this way, greatly simplifies/facilitates my ability to read such passages.

' anyone else?

As an old piano player (first instrument, many years before another) I recognize the chords as arpeggios but as if they were on a piano keyboard. Still, when looking at that and playing it in my head, I find myself mentally playing the piano with one hand or the other, for the notes.

Yup. Guitar/piano, and then an academic career teaching music theory. Don't get me started or I'll analyze everything and bore everyone to death.

If I look at what's up ahead in the notes see and see that various arpeggios are fill-in-the-blank chords, I can also see that those arpeggios start on the 5th or the root or the third, and of course I know that e-sharp is the same as F and all that sort of jazz, I can then play all those notes without having to look at each individual note, and while I'm playing all those notes, I can look at the next measure.
Since some of those arpeggios are spelled in less common enharmonic ways, it was particularly helpful to sketch the chord names above those arpeggios in this exercise. ie. When I was 18 and playing the etudes in this book for my studio teacher, I wrote out the chord names just to ensure that I would do a good job playing the etude at the next lesson, because we always get just a little bit nervous when playing for someone else.

Even though it was a very long time ago.. like a half century, I still recall that they didn't say a word about me sketching the chord names above the measures. Basically they said "okay", and we went on to something else... but I suspect that they we're accustomed to reading such things in the same way, as they themselves were a fairly accomplished elementary school-aged accordionist, prior to picking up the tuba in junior high school.

@bloke that first big circle should be E# minor, enharmonic to the F minor arpeggio in the previous two bars.

edit: I wonder if there is a typo in that measure where there is no marked C natural, because otherwise that would sound like a Db major/C# major chord.

"With all our music made out of scales and broken chords it helps to know these in all keys" (Sam Pilafian)
Playing arpeggios through all keys (and through all chord shapes) for warming up by ear is good training for being confronted with such disguised notes as shown. The fingers can play it faster than you can read it
At least it helps me when playing with not only for different key horns but different valve layouts

And yeah, playing piano and tenor guitar helps thinking in chords!