UNIVERSITY OF MIAMI TUBA PEDAGOGICAL ARTICLE COMPENDIUM ARRANGED ACCORDING TO THE DEWITT BRASS MODEL By Jacob Frederik Haramule A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2011 UMI Number: 3456338 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3456338 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ©2011 Jacob Frederik Haramule All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts TUBA PEDAGOGICAL ARTICLE COMPENDIUM ARRANGED ACCORDING TO THE DEWITT BRASS MODEL Jacob Frederik Haramule Approved: ________________ _________________ John Olah, M.M. Terri A. Scandura, Ph.D. Associate Professor of Dean of the Graduate School Instrumental Performance ________________ _________________ Thomas Sleeper, M.M. Timothy Conner, B.M. Professor of Instrumental Lecturer of Instrumental Performance Performance ________________ Stephen Zdzinski, Ph.D. Associate Professor of Music Education HARAMULE, JACOB FREDERIK (D.M.A., Instrumental Performance) Tuba Pedagogical Article Compendium Arranged (May 2011) According to the DeWitt Brass Model Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor John Olah No. of pages in text. (166) The focus of this essay is the creation of a tuba reference guide based on the compilation and investigation of tuba pedagogical articles. The content in the collected articles is examined and summarized in a methodical approach. Critical information is gathered from the selected articles and integrated into the new tuba compendium. Five topic areas of performance based on a practical brass model developed by Dr. Timothy DeWitt are used to organize the materials and information in a logical and clear manner. The five topic areas of performance that form the main chapters in this document are; Air and Tone, Range and Flexibility, Articulation, Technique, and Practical Application. A concluding chapter presents data that was collected during the research and organization of this document. The new data is intended to suggest possible trends in the publication of tuba pedagogical articles. Tuba performers of all levels should find useful information and perspectives based on the experiences of numerous past and present tubists. In addition, the chapters that are focused on the five topic areas of performance include a section that is directed toward instructors of tuba. TABLE OF CONTENTS Page LIST OF EXAMPLES ............................................................................................... vi LIST OF FIGURES..................................................................................................... viii Chapter 1 INTRODUCTION .......................................................................................... 1 The Problem .................................................................................................... 2 Need for a Tuba Pedagogical Article Compendium ....................................... 3 The Purpose .................................................................................................... 5 Tasks .............................................................................................................. 5 Delimitations ................................................................................................... 6 Operational Definitions ................................................................................... 6 2 LITERATURE REVIEW ............................................................................... 8 Air and Tone ................................................................................................... 8 Range and Flexibility ...................................................................................... 10 Articulation ..................................................................................................... 11 Technique ........................................................................................................ 13 Practical Application ....................................................................................... 14 Summary ......................................................................................................... 16 3 METHOD ....................................................................................................... 18 Data Gathering ................................................................................................ 18 Data Classification and Presentation .............................................................. 19 Analysis of the Information ............................................................................ 20 Application and Integration of the Information .............................................. 21 4 AIR AND TONE ............................................................................................ 22 Preparing Air Source and Freeing the Air Stream .......................................... 22 Breathing Techniques ............................................................................... 22 Breath Placement ...................................................................................... 31 Sound Concepts ........................................................................................ 33 Additional Considerations in Air and Tone .................................................... 37 Ensemble Sound Versus Solo Sound ........................................................ 37 Circular Breathing ..................................................................................... 38 Air Flow and Controlled Sound ................................................................ 39 Vibrato ...................................................................................................... 42 Air and Tone Strategies for Teachers ............................................................. 44 Breathing and Tone Production ................................................................ 44 iii Reducing Resistance ................................................................................. 54 Visualizing Sound ..................................................................................... 55 Buzzing to Improve Sound ....................................................................... 57 Embouchure and Tongue Placement ........................................................ 58 Air Direction ............................................................................................. 60 5 RANGE AND FLEXIBILITY ........................................................................ 62 Establishing the Flex ....................................................................................... 62 Slurs .......................................................................................................... 62 Expanding the Range ...................................................................................... 65 General Range Extension .......................................................................... 65 High Range Extension .............................................................................. 67 Low Range Extension ............................................................................... 71 Range and Flexibility Strategies for Teachers ................................................ 75 Range Extension ....................................................................................... 75 Sample Exercises for First Year College Students ................................... 77 6 ARTICULATION ........................................................................................... 80 Tonguing on the Air Stream ........................................................................... 80 Sound and Clarity ..................................................................................... 80 Establishing Consistency of Attack ................................................................ 83 Tongue Positioning and Speech Models ................................................... 83 Articulation Strategies for Teachers ............................................................... 87 Articulation for Beginners ........................................................................ 87 Spectrogram .............................................................................................. 87 7 TECHNIQUE .................................................................................................. 89 Challenging Fingers ........................................................................................ 89 Finger Strength and Coordination ............................................................. 89 Challenging Facility ........................................................................................ 92 Trills .......................................................................................................... 92 Pitch Finding ............................................................................................. 93 Sight-Reading Skills ................................................................................. 94 Additional Considerations in Technique ........................................................ 95 Embouchure Strength and Health ............................................................. 95 Slide Adjustments for Intonation .............................................................. 96 Practice Techniques .................................................................................. 97 Mouthpiece Buzzing ................................................................................. 100 Legato Technique ...................................................................................... 101 Extended Techniques ................................................................................ 103 Technique Strategies for Teachers .................................................................. 110 Rhythmic Development ............................................................................ 110 Posture ....................................................................................................... 110 Learning Note Names ............................................................................... 114 Metronome Use to Develop Technique .................................................... 115 Fostering Independent Musicianship ........................................................ 116 iv Fourth-Valve Considerations .................................................................... 117 8 PRACTICAL APPLICATION ....................................................................... 118 Phrasing/Flow Studies .................................................................................... 118 Vocalise Performance ............................................................................... 118 Characteristic Studies ...................................................................................... 119 Performance Practice ................................................................................ 119 Exercises Personally Derived From Current Repertoire ................................. 121 Marching Band Repertoire to Improve Musicianship .............................. 121 Find the Challenge Before the Solution .................................................... 121 Additional Considerations in Practical Application ....................................... 123 Audition Strategy ...................................................................................... 123 Practice and Performance Strategies ......................................................... 124 Equipment Considerations ........................................................................ 135 Recordings ................................................................................................ 137 Practical Application Strategies for Teachers ................................................. 138 Ensemble Director, Private Teacher, and Parent Communication ........... 138 Practice Strategies ..................................................................................... 139 Choosing a Tuba ....................................................................................... 143 Motivating Young Tuba Players ............................................................... 146 9 ARTICLE DATA RESULTS ......................................................................... 149 Articles by Topic ............................................................................................. 149 Articles by Year .............................................................................................. 150 Articles by Author ........................................................................................... 151 Articles by Level ............................................................................................. 152 Articles by Journal .......................................................................................... 154 BIBLIOGRAPHY ....................................................................................................... 155 APPENDIX 1 .............................................................................................................. 162 APPENDIX 2 .............................................................................................................. 165 v LIST OF EXAMPLES Example Page 1. Scott Watson, “Three Exercises for Correct Air Flow on the Tuba-Euphonium” ............................................................................... 41 2. Scott Watson, “Three Exercises for Correct Air Flow on the Tuba-Euphonium” ............................................................................... 41 3. Michael Fischer, “Working with Incoming College Music Students” ........... 46 4. Ronald Bishop, “Fundamentals of Tuba Playing” .......................................... 64 5. Fritz Kaenzig, “Improving Tone in the High Register” .................................. 69 6. Fritz Kaenzig, “Tuba Pedagogy: Building a Successful Low Register .......... 73 7. Thomas Bough, “The Bottom of the Band is the Tuba Pedal Register .......... 74 8. Michael Fischer, “Working with Incoming College Music Students” ........... 78 9. Michael Fischer, “Working with Incoming College Music Students”............ 78 10. Michael Fischer, “Working with Incoming College Music Students” ........... 79 11. Michael Fischer, “Working with Incoming College Music Students” ........... 79 12. Daniel Perantoni, “Tuba Talk Part II – Performance Tips” ............................ 80 13. John Stevens, “Don’t Neglect Alternate Fingerings” ..................................... 91 14. Barton Cummings, “Multiphonics and the Tuba” .......................................... 104 15. Barton Cummings, “Multiphonics and the Tuba” .......................................... 104 16. Barton Cummings, “Multiphonics and the Tuba” .......................................... 105 17. David Randolph, “Toward Effective Performance of Multiphonics” ............ 106 18. David Randolph, “Toward Effective Performance of Multiphonics” ............ 107 19. David Randolph, “Toward Effective Performance of Multiphonics” ............ 107 vi 20. David Randolph, “Toward Effective Performance of Multiphonics” ............ 108 21. David Randolph, “Avant-Garde Effects for Tuba – Music or Noise?” .......... 109 vii