TUBA PEDAGOGICAL ARTICLE COMPENDIUM ARRANGED ACCORDING TO THE DEWITT ...

177 Pages·2011·2.07 MB·English

by  Jacob Haramule

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
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Jacob Frederik Haramule
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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