U of A Brass Techniques - Tuba & Euphonium 

 
Scott Whetham, Tuba/Edmonton Symphony Orchestra   
<​[email protected]​> 
 
Tuba players, who initially wanted to play the saxophone or trumpet, have sometimes been 
‘sold’ the tuba - not an auspicious beginning! When I started playing tuba in middle school, there 
were still high quality, sometimes professional instruments in school band rooms. I attribute this to 
the many ​professional players​ who were in the teaching profession at that time, making 
knowledgeable instrument purchases.  
Now, many years later, the quality has come crashing down. At band workshops, I routinely 
encounter instruments that even I find challenging to play. Offering up a quality instrument to a 
prospective tuba/euphonium player could be crucial in their desire to continue on.   
For use as a m​ usic teachers handbook​, I highly recommend P ​ ractical Hints on playing the 
Tuba​ (Donald Little/pub. Belwin Mills). This is a highly useful book, clarifying many aspects of 
playing, and of the instrument itself.  
Please note the list of i​ mportant errata​ at the end of this document   
 
 
The Tuba Family Briefly Considered 
There are five members of the ‘tuba family’. The euphonium is considered part of this 
group, as it shares many tonal characteristics. It is of course, a separate instrument with 
its own personality. The instruments are listed here in order - largest to smallest 
 
The Contrabass Tubas​ (BBb and CC) 
BBb tuba​ - The most common tuba in N.American schools and community bands, and the 
tuba that everyone thinks of first. B
​ ell size​ and ​tube bore​ typically separate the s​ tudent 
and p​ ro​ instruments. The medium sized BBb has a broad sound with a good mid and low 
register. Drawbacks can include size, and a limited upper register above the staff.  
Fact​: Larger tubas produce a more substantial sound and are easier to ​blow​. Some models 
may require the use of a stand. The so-called ‘student size’ tubas are easier to hold, but 
harder to blow with their smaller bore.   
Trend​: After many years, the CC tuba is starting to push out the BBb in A ​ merican 
military bands.  
 
The CC tuba i​ s increasingly present in American high schools, and is the standard choice 
for ​advancing​ university students, orchestral players, and those who require only one 
instrument. It has the same weight of sound as the BBb, but is generally a better ​fit​ in a 
variety of ensembles: band, orchestra, recording, jazz, small ensembles, solos and 
recording work. A multi application instrument. 
 
 The Bass Tubas​ (Eb and F) 
The Eb tuba​ is arguably the best d​ o it all​ tuba and the best “starter” for young players.  
It boasts the largest overall usable register, and is physically the easiest to manage. 
Employed at s​ tudent to professional​ levels, it is as flexible as the CC tuba, but with a 
leaner sound. A popular choice in the U.K., Scandinavia and Japan. ​See further down in 
this document​ for a compleat sales pitch on the Eb tuba. 
 
The F tuba​ is often associated with high range applications and for playing solos, but it is 
also chosen for its ​timbre​ (​example - a lighter delivery of tone for brass quintet​). They are 
routinely equipped with 5 or 6 valves, either piston or rotary. Not a choice for the school 
band. For a​ spiring​ players, this is usually the next acquisition after a CC tuba. The 
German players are the leading exponents of the F tuba.  
 
The Euphonium and Baritone​ (​see photo at end​) 
What is the difference between the euphonium and the baritone? 
They are two distinct instruments, but to the layperson they look and sound the same.  
In the British and Continental brass bands, the two instruments have separate roles. 
 
The euphonium​ has a robust tone with its larger bell and bore - essentially the t​ enor voice 
of the tuba family, so it is grouped in with them. Models with a 4th valve are preferred. 
Trombone players often take on the euphonium as a ​double​. The euphonium is an 
astounding instrument, yet it is excluded in many ensembles: brass quintet, Big Band, 
symphony orchestra (​infrequently used​). Besides its classic role in the wind band & brass 
band, it has found a place as the top voice in the tuba/euphonium ensemble.  
 
The baritone​ has a distinctly lighter tone, smaller bell and slimmer tubing - closer to a  
Bb flugelhorn, Eb tenor horn or alto trombone sound. The “real” baritone is well 
established in Britain ​brass bands​, but is seldom seen in North American bands. A 
different instrument with a very different role.  
 
Sheet music​ for both instruments is traditionally printed in both bass & treble clefs (​the 
treble clef accommodates former or “doubling” trumpet players who take up the 
instrument​).  
 
 
 
 
 
 
 
 ASPECTS OF EQUIPMENT 
Valves​ - ​Piston and rotary valves​ are equal in terms of performance and overall musical 
result. Piston valves are a little easier to oil, clean and service. They come with either 
plastic or metal g​ uides,​ ensuring that the valve can only fit one way back into the​ casing​. 
Use caution, as plastic guides are prone to breakage.  
 
Valve function​ may be affected if the instrument is in need of cleaning, if instrument has 
been dropped, or if corrosion is present. Simply applying more valve oil may not address 
poor valve action. 
 
The ​euphonium​ 4th valve​ is tuned slightly lower than the ​1+3 combination​, extending 
range below the bass clef staff, and refining aspects of pitch as well. It is required in the 
advanced band literature (ex. Holst - 1 ​ st Suite​) and indispensable in much of the solo 
repertoire.  
The ​tuba​ 4th valve​ is also tuned slightly lower than the 1 ​ +3 combination​, extending 
range & refining aspects of pitch. It is regularly employed in wind band & solo repertoire.  
Every tuba should have a fourth valve, enabling facility in the lower register.   
 
Tuning Slides​ - each valve has one (​sometimes two​) moveable slides, allowing for pitch 
adjustment and the emptying of condensation. A well maintained slide should move freely. 
The ​main slide​ is the largest slide. Some designs have an expansion of bore size in the 
main slide, meaning that it is ​not reversible​ when re-inserted.  
If an instrument has been dropped, this can result in the slides being out of parallel, 
making it physically difficult for a young player to move. No amount of t​ uning slide grease 
will fix an out of whack slide, and a repair person is needed. A s​ tuck slide​ allows 
condensation to accumulate, posing a health hazard.  
 
Mouthpieces and Receivers​ - A brass mouthpiece must be ​perfectly circular​. If the stem 
(​shank​) has been dented it won’t seal correctly, or will wobble in the receiver. Pitch and 
response may be affected too. A mouthpiece should seat approximately h ​ alfway​ into the 
receiver, thus matching up with the correct receiver: m ​ outhpiece taper corresponds to 
receiver size. 
Receivers​ come in different sizes, listed here from smallest to largest. 
 
Euphonium receivers: ​(1) small, (2) o​ ld European​ or British, (3) North American 
Tuba Receivers: (​ 1) o​ ld European​ or British, (2) North American, (3) Euro 
 
 
 
 
 Basic Mouthpieces for Euphonium  
(​confirm with the supplier your instrument make,  
to ensure that mouthpiece and receiver will match!​) 
• Wick 6BY (intermediate) 
• Bach 6 ½ AL (a basic student mouthpiece)   
• Yamaha #48 (also a good basic mouthpiece)   
• Bach 12C (a bit small for euphonium but will work) 
• Bach 5G (a deeper cup, intermediate) 
• Schilke #51 (intermediate)   
 
Basic Mouthpieces for Tuba  
(​confirm with the supplier your instrument make,  
to ensure that mouthpiece and receiver will match!​) 
• Mirafone TU23 (old model number is C4)   
• Yamaha 67C4  
• Denis Wick #2 or #4 (for British receivers) 
• Denis Wick #2L or #4L (“L” means for large receivers) 
• PT #72 (intermediate)  
•B​ ACH tuba mouthpieces are not recommended​ (too large for school players) 
 
PHYSICAL CONSIDERATIONS 
Posture is the most overlooked aspect of tuba & euphonium technique,  
and is often the source of various playing issues.  
 
A good t​ uba/euphonium chair​ is the old fashioned oak “teachers chair”. Alternatively, the 
classic wooden ​piano bench​ works very well (​tuba players should straddle it, resting the 
instrument on the bench​).Either of these two ​set-ups​ place the instrument at the perfect 
height for many players.  
A challenge for many elementary/intermediate tuba players is overcoming the ergonomics 
that a large instrument presents. Progress on the tuba/euphonium means ​listening to your 
body​ - never wrestling with the instrument or accepting discomfort as normal.  
 

TUBA PLAYING POSTURE ​WITHOUT​ A TUBA STAND 

• Without the tuba, sit naturally in the chair, establishing an attentive posture. Slouching 
won’t work with a huge instrument! 
• Next, pick up the instrument, holding it as close to you ​as is comfortable​ to connect with 
the mouthpiece. Avoid craning the neck/tilting the head to get to the mouthpiece.  
Posture should be the same as your seated position. 
• “Center” the tuba to align with your body. The tuba should be supported by either your 
lap or the chair - never resting on one thigh or tilted sideways. Stay natural, “stay tall”. 
 USING A TUBA STAND ​(s​ ee photo at end​)  
Some tubas (not all) require a stand. 
The most frequently held view is that if a player is ​using a tuba stand​, he/she is now 
sitting & playing correctly and everything is wonderful. Wrong. I have yet to see a 
student using one correctly, at the r​ ight height​. Most commercial tuba stands are poorly 
designed or of flimsy design.  
I use a modified ‘corkscrew style’ drum throne - inexpensive, sturdy, and easy to convert. 
The precise height of a stand is crucial - even a ½ inch too high or too low can affect an 
overall feeling of comfort. With the corkscrew design, one can adjust the h ​ eight​ to a very 
refined degree - crucial for placing the mouthpiece at the optimum angle. When used 
correctly, a tuba stand more or less ​renders the instrument weightless​. 
 

CONVERTING A DRUM THRONE INTO A TUBA STAND 

1. Remove the padded seat. A cross piece will remain. S ​ mall diameter​ ones are best. 
2. Cut a small circular block of plywood (approx. 1½ thick) to conform to the diameter of  
the cross piece (ideally no more than seven inches in diameter)  
3. Cut some circular pieces of cork, conforming to the plywood diameter. Glue the cork  
together, totalling 1½ inch in thickness (​ the instrument will rest on this cork​).  
4. Glue the cork to the plywood.  
5. Bolt your newly finished w ​ ooden base​ to the drum throne base plate (​see photo​) 
 
EUPHONIUM POSTURE, W
​ ITHOUT​ USING A STAND 
1) Without the euphonium, sit down naturally in the chair. A good ​euphonium chair​ is an 
old style wooden ​teacher’s chair​ (about the same height as a wooden piano bench). 
 
2) E​nsuring that your posture is still natural, pick up the instrument​. Hold it comfortably 
for the lips to connect with the mouthpiece a​ t a natural angle​. You should not need to 
crane your neck or tilt your head to get to the mouthpiece. C ​ enter the instrument​ to align 
with your body in a natural way.  
 
3) This method, although most natural, requires the player to bear the weight of the 
instrument with the arms for extended periods of time, which some find this tiring.  
 

USING A EUPHONIUM SUPPORT SYSTEM 

With it’s inherently awkward “in between” size, the euphonium can be a challenge to hold - 
too short to rest on a chair or lap, or just a bit heavy to hold in the arms for long stretches 
of time. When used correctly, a euphonium support should more or less render the 
instrument weightless. I favour a lap support - portable, adjustable, inexpensive. 
 
 
1) Take a medium sized leather shaving kit (a little bigger than a loaf of bread) and stuff it   
with padding. With this placed on your lap, one can rest the instrument easily.  
2) Experiment with the amount of padding, refining the height to one that is most  
compatible with the instrument. You should not need to crane your neck or tilt your  
head to get to the mouthpiece.  
3) With the euphonium on the support, ensure that your body ‘lines up’ with the horn,  
and posture is still n
​ atural​. 
 
(•​\./​•)   
Getting Started, a basic practice session  
 

LONG TONES  
“ABS” means air = buzz = sound   
Long tones are a basic starting point for many players. The slow speed of events allows 
one to hear the tone in great detail. Relaxed and flowing air help ‘set up’ the embouchure. 
It is the breath which s​ upports​ the embouchure, not the other way around. The breath “lifts 
the sound up”, allowing the tone to sing. Establishing a beautiful sound is the #1 priority - 
many other playing challenges will solve themselves as a result of good tone. Don’t ask the 
embouchure to carry the load - use a steady & generous air flow (think of Yoga).  
Your individual sound is your musical fingerprint.  
 
LIP SLURS & FLEXIBILITY 
​ Moving from note to note just by using the air + lip (no valves). Air speed, flexibility 
and aperture determine note quality. Unnecessary mouthpiece pressure can restrict the 
embouchures’ movement - back off on the pressure & increase the air   
 
SCALES (major & minor) 
Scales mean air/embouchure/fingers, all working together as a team. Scales depend on the 
air column - the fingers don’t produce any sound, and are just along for the ride.  
Employ a variety of articulations in scale work, and different ways of executing the attack 
(tongue) and note style (staccato, tenuto, accented, slurred/legato). A clean beginning to 
every note. Strive for accuracy with scales & arpeggios.  
 
EASY SONGS  
1st year players: learn a few songs by ear, just picking out the notes!  
 
BAND & SMALL ENSEMBLE MUSIC  
P
​ ractice your parts at home, not during the rehearsal 
 Cheek Puffing 
We’ve all seen it. Scary. Cheek puffing is like a bad cold that never goes away. It kills the 
sound, wipes out the high range and cuts down on accuracy, endurance, everything.  
It doesn't have to be this way! Don’t freak out. Do these simple things: 
 
Tip. Identify a good note - a note which can be produced w​ ithout​ the cheeks puffing​. 
Everyone has one. It might be a middle Bb, or an F, or whatever. A player may start on 
this good note and move s​ cale wise up & down​, encircling this note, aiming to retain this 
same good quality of sound on neighbouring problem notes.   
Experiment by playing in front of a mirror - just to see what the heck is going on.   
 
Tip​. ​The corners of the embouchure should remain relaxed but firm​. This is the classic 
set-up​ which looks like a shy and discreet smile ;-|  
Sometimes, a weak chin (​receding) ​may allow the cheeks to balloon out, losing the ​corners 
in the process. There are players with crazy embouchures that work, but if you observe 
professional brass players, most will have a very similar “set-up”. The chin with a subtle 
thrust forward, mouthpiece c​ ontact​ evenly spread overall.  
 
Tip - the embouchure “corners” tell the cheeks who the boss is!  
 
 
V - Bringing the Eb Tuba back to the Band 
The Eb is the “do it all tuba”, the best all around choice for 
beginning & intermediate level players. Pros use it too (​ PLATO) 
 
Some people think it’s extinct - even a few band teachers. On the contrary, it’s used by 
players at all levels and musical backgrounds. My own students who have enjoyed the 
greatest success are those who either started on/switched to, or later advanced to, the Eb 
tuba. It has some advantages over its big brother, the BBb tuba.  
 
The Eb tuba  
The Eb tuba fits many differently sized players and is lighter in weight than the BBb. It 
has a solid mid range, easier upper range (​lower register requires perseverance​), blows 
easily and blends well.  
Three valve​ models are fine for most early school band scores, with four valves being 
required for intermediate/advanced players (increased range, more advanced parts). The 
Eb is used in university ensembles, community wind bands, military/brass bands, 
symphony orchestra, brass quintet, solo & chamber repertoire. 
 
 Q. Is the Eb tuba a better choice over the BBb tuba?  
Both instruments have their advantages and share very similar roles in the wind band. 
The Eb tuba is easier to handle on many levels. ​The BBb tuba is well established and 
familiar in Canada, however, it often presents a challenge to young players because of 
size.  
 
Q. Why is the Eb tuba so little used in bands now? 
There are various theories for the decline (​middle 1960’s​) of the Eb tuba in North 
American wind bands: 
• a general view that the Eb tuba is a “lesser” or inferior instrument   
• The evolution of the big ​American Sound​ and the strong American military band   
tradition, pushing out the Eb tuba and its leaner sound 
• traditional p
​ reference​ by trumpet/trombone/euphonium players who d ​ ouble​ on tuba,  
desiring the security of a Bb pitched instrument   
• lower priority by instrument manufacturers 
• preferred use of the F tuba over the Eb tuba by orchestral players 
 
Q. How challenging is it for a player to switch to the Eb tuba? What about 
the fingering differences?  
A willing student can make the switch from BBb to Eb quickly and easily. Some kids can 
play both! The Eb & BBb tubas are pitched a ​perfect fourth​ apart and share fingering 
similarities. The Eb reads in the bass clef at ​concert pitch​, just like the BBb tuba.  
 
Q. What is the difference in tone? 
Generally speaking, the ​Eb tuba​ has a slightly lighter delivery of sound. Young players are 
encouraged by its ease of playing, and earlier access to the mid & upper range. The B ​ Bb 
tuba​ has a stronger fundamental and greater sense of depth in the lower register.  
  
Q. If BBb tuba size is a problem, why not just use a tuba stand?  
Most tuba stands are unwieldy, break easily, or require adjustments, They are n ​ ever​ set 
up at the correct angle for the player. An Eb tuba almost never requires a stand. 
Fact: The purpose of a tuba stand is for setting the mouthpiece height at the correct angle - 
not for taking the weight off the player. 
Tip: use a modified corkscrew style drum throne for very large tubas (see photo). Unlike 
most commercial tuba stands, a corkscrew drum throne adjusts by degrees. 
 
 
 
Q. What about the fourth valve? 
Some Eb tubas come equipped with a fourth valve to extend the lower range - this is 
highly recommended for a ​ dvancing​ players. However, I myself own a three valve 
instrument which is employable for most musical situations. Beginning & intermediate 
players can play most of the repertoire with three valves only. 
Fact: It is a myth that by holding down the fourth valve on an Eb tuba, it can be played as 
a BBb tuba. This is a olde faery tale that results in a hideously out of tune and stuffy 
instrument. 
 

Q. What is the use of having tubas in various keys in the modern band? 
You will often see d​ ivisi​ parts written for the tubas, a genetic marker from the early days 
of banding. Classical transcriptions in the military & British brass bands scored Eb 
(​higher​) and BBb (​lower​) tuba parts. Advanced university level & professional scores have 
retained this tradition, today with increased challenge and real p ​ art writing​ for the high 
and low tubas.  
For some bizarre reason, the double bass is still present as a ​hanger-on​ in many scores.   
 

Q. What brand names should I be looking for? 

The dependable makers are primarily B ​ esson​ (same as Boosey & Hawkes) and Y
​ amaha​. 
Somewhat more rare are Conns, Kings, Couesnon and older Mirafones. One may still find 
the occasional quality instrument by a lesser known maker, often East German or Czech, 
but these are few nowadays.  
Buy “good quality used” instruments. Avoid “new and cheap”. 
 
Q. Isn’t it expensive having “different keyed” tubas in the band?  
The Eb tuba often languishes as a ‘white elephant’ in band room storage. If you are 
missing this luxury, a very good quality, even professional level used instrument can 
sometimes be acquired at a reasonable cost. A frugal band teacher might consider two 
instruments for a student - Eb for school use, BBb for home practicing. A keen student 
can handle the limited fingering differences!  
Some of my students continued on, playing both BBb and Eb tuba regularly.  
 
Q. I don’t have time to chase down an unfamiliar instrument. 
A professional player can often assist in this regard.  
 
 
 
 
 
 
left to right - a classic style euphonium, a standard Eb tuba, a full size BBb tuba  

 
 
 
Hierarchy - a seldom considered aspect of the tuba section 
All wind band sections ​except the tubas​, have an existing h​ ierarchy ​(1
​ st, 2nd, Principal 
etc.​). Some individuals will aspire to advance through the ranks, while others are content 
to simply contribute and enjoy the communal band experience.  
With the exception of military transcriptions & the modern wind band, the tuba section 
seldom has a designated lead part, ​granted, there is usually a player of superior skills​. The 
section typically operates as a pack, playing in unison or ​divisi, w​ ith an occasional 
direction such as “​one only​” or “​solo​”.  
The positive effects of diversity - ​higher pitched Eb or F, and lower pitched BBb or CC 
tubas​ - in the section contribute to a player’s sense of individuality.  
 
 
 
Because this scenario is unlikely to occur in the school system, the ​designation of a lead 
player​ can set the tone for a healthy hierarchy. If a piece has a particularly ​mind numbing 
tuba part for example, write a 4 ​ to 8 bar solo​ into the part, so that the lead player is 
challenged. 
 
 
A British Brass Band  
Front row, the first four instruments (left to right) are BBb tuba, Eb tuba, euphonium and baritone.  

 
 
BASIC STUDIES FOR EUPHONIUM 
• Rubank Elementary Method for Trombone/Baritone (Rubank Pub.) 
• Rubank Intermediate Method for Trombone/Baritone 
• Rubank Advanced Method ​Vlm. I​ for Trombone/Baritone 
• Rubank Advanced Method ​Vlm. II​ for Trombone/Baritone 
• First Book of Practical Studies for Trombone, ed. Bordner (Belwin) 
• Duets for All (​for bass clef instruments​) Stoutamire, Belwin-Mills 
• Fink - S
​ tudies in Legato for Trombone​ (Carl Fischer Pub.) 
• Henry Charles Smith, F ​ irst Solos for the Trombone Player​ (Schirmer) 
 
TUBA - FOUNDATION BOOKS 
• Rubank Elementary Method for E-flat/BB-flat Bass (​Tuba​) Rubank Pub. 
• Rubank Intermediate Method for E-flat/BB-flat Bass 
• Rubank Advanced Method (Vlm.I) for E-flat/BB-flat Bass 
• Rubank Advanced Method (Vlm.II) for E-flat/BB-flat Bass 
• Practical Hints on playing the Tuba - ​Donald Little/pub. Belwin Mills  
• First Book of Practical Studies for Tuba, ed. Getchell (Belwin) 
• First Solos for the Tuba Player - Wekselblatt (Schirmer) 
• Duets for All (tuba) ed. Stoutamire/Henderson (Belwin-Mills) 
 
Take off the headphones ​(•​\,/​•)   
 
We don’t have enough silent time in our lives.  
Music is best appreciated with fresh ears. Save time for live concerts.  
The learning process on any instrument is put into perspective by attending performances.  
Edmonton has a vibrant music scene, here are a few groups to follow: 
 
CLASSICAL 
• The Edmonton Symphony Orchestra • Edmonton Ballet • Edmonton Opera  
• YEGWQ (​woodwind quintet​) • The Edmonton Recital Society (​high quality classical soloists​) 
• The Edmonton Chamber Music Society • Obsessions String Quartet 
• Alberta Baroque Ensemble (​music of the 1700 & 1800’s​)  
  
CHORAL 
• Pro Coro (​professional mixed choir​)  
 
BANDS and BRASS 
• The Edmonton Winds (​wind band​) • RCA Band (​professional Military Band​)  
• Mill Creek Colliery Band (​British style brass band​) • Bok Brass (​brass quintet​) 
• The Edmonton Tuba Quartet (​2 euphoniums & 2 tubas​) 
 
JAZZ & NEW MUSIC 
• New Music Edmonton (​crazy modern music!​) • Yardbird Suite (​jazz music​)  
 
 
 
The ideal tuba stand - a repurposed ‘corkscrew’ style drum throne   
 Errata - Practical Hints on playing the Tuba 
Donald Little - pub. Belwin Mills  
 
For those teachers or students who do not have access to a professional player this is a very 
good reference book outlining the basics of tuba playing. I use it as a “checklist” for 
teaching. However, it has some p​ rinting errors​ which have not been corrected in subsequent 
printings. Take the time to enter these in your own copy.  
 

Major Errata  
page 11 - in the mouthpiece ring photos, photos #2 and #3 are r​ eversed 
page 24 - ​Group Two​ (interval slurs) 
​bar 13: third note is G (not B) 
bar 17: first note is Gb 
bar 25: alternate fingering is 24 (not 4) 
 
page 26 - ​Drill 3​: bottom line, bar one - second note is Bb 
page 29 - bottom line should be in bass clef 
page 30 - first three lines should be in bass clef 
 
page 40 - ​Photo  
​Do not use this technique to remove a slide​! - excessive force of this nature  
could result in bending the bell. 
 
 

Minor Errata 
page 13 - bar three of "Row Row Row" is incorrectly notated 
 
 
Basic Drill (edited)  
Page 15 - edit & play the G
​ roup Two​ drill is as follows: 
 
1) Draw a stem on each Bb (bars 1, 3, 5, etc.), effectively turning them into half notes.  
2) Draw a stem on each F (bars 11, 13, 15 etc.), again effectively turning them into half  
notes.  
3) Make these same changes starting bar 25, when the pattern returns to the low Bb  
(bars 25, 27, 29 etc.). 
 
Proceed by playing the Group Two exercise in 3/2 time, wherein the starting half note gets 
one​ beat and each whole note gets ​two​ beats. Continue the pattern shown in all three sets, 
compleating an octave.