ae BOOSEY (of HAWKESLEARN AS YOU PLAY TUBA BY PETER WASTALL Revised esition 1990 Learn fs You Pay is 8 series of instrumental tutors designed aly to prepare pupils forthe early grades ofall son Boards. The tutors ave suitable bana 8 cube The course, places the maximum emphasis on the tatty development of musicianship. From the beginning « intreduess the student to @ wide range of music, incluging worke by leading contemporary composers. Each unit conteins ‘Now material is presented in lear progressive steps 2 Short, concise exercises enebie new skils 2 Instrumental solos by elstinguished coms stimulate and develop practice repeto Progressive technical stuses gradually bring the student Tewo contect with specific instrumental techniaue 5 Instrumental duets (alternate units) provide experience in ensemble playing, Keyboard accompaniments to the dusts can bo added in early unis Progress is measured by the introduction Of Concert Paces which utilise a previously lestned material Pisno accompaniments are available for these pisces in a separate eocompanimant book. The Concert Peces 4316 works representative of examination requiroments and in many instances ars works which have been est in current or past syllabuses SERIES EDITOR PETER WASTALL © Copytigh: 1985 by Boosey & Hawkes Music Publishers Le Now edition © Copyright 1880 by B2osoy & Hawkes Music Puolshers Lea BOOSEY (cy HAWKESPlaying position sual the tub ess on the player's thighs, the llth guingaditiora supert The night hand ‘gens are postioned over the valves Left hand position When faunh vaiveie tes ne ettrand ingers se pestioned over the Fourth valve ey to Copressitwhen reqarediunts 12-20) Mouthpiece placement The-mauthpice is usualy faced cetaly onthe gs win two te ath opp ancone thirst the boltom lp showing nie te moutnpices when a visuione 8 uses, Open notes —Eb tuba Inscoping ith othertrassintments the ‘baba range ofrotes tot ea be proceed wthout depressing anyofthevalves. Alter producing the inal br" ayo produce ene ‘most comiortatle pla. Usual puoi's rst notes are eters Gh orlsiy Fh The man jective willbe topsoy Bb He fest notes are higher thon Bb, rel the muscles athe nr. th rat nem are vs than Bb my themusees around he paris. Once tha 3b established, rel down tothe or Eb ane ne emboushure fowration fqulod 2 wa bese sours After experimenting with the open notes, compare the sounds of Bb, Ab, G, Fand Eb Open notes 8b tuba Inkoeping sith otrerorassnsturents the Bb tubahas arangecfnotes that car pe aodeed witht depressing ano the valves, Ate producing the nal bu’ ty o produce one ot ‘hese opan notes, strong on whichever most ertabie te loy Usual a pupil's first ates sro oher By, Forlow Bb. The ma abeerwe wil beta play te upper of thotwo Bhs th fst notes are higher than the upper Bb lax he rruselo the poet the es noes are lower ran tre usper Bk. em iho srourdtne apetrs, Onoe the upoer 3b otbishad, lx down otha Fane compare the fembuchure requredo play hese wo basic Try to start each note with a tongue movement similar to that used when pronouncing the letter 'T’ S Points to remember 1, Mold he mautpioc gy sens he ips ssn jat enough pressure to st a Naver allow the cheeks to batioon outwards. Postion ta’ 20 mat the ips canbe 4 Sup, wh thebackstraightandoing fulldeep brains 1000 taken, When tonguing, the tongue should strike the point where the upper teeth and gums meet Tuba pitch \Whon notated nba det, tubas are coneort fh struments area rm the same nar repardesso whether ther open notes pitched onan > seres or a5» sees. Puss vsinga pero to check poh shoul pie Bba aninaslow midala Croestatken open Skin the Bb Ab G F Eb eb Open 1 8 Open 1 1 1 Open 2 1 Open 1 2Notation Pontedtnotesare sorte tretzoven laters iphabar From buoseen tha tneyaropianed anastathename ttmetve ins) aach ing andaach pa 1s riged orlowered hal ‘tone The sign fot lowering snete hata tonois the lat sgn shown nthe exempie. Dung units 1and2. fat signa wile used 6 show 8b, Ab and Eh Play the following crotchets trying tohold each for exactly the same amount of time. Now play the following minims, holding each note for the whole of beats one and two added together. Now playa semibreve, trying to hold the note for exactly four beats. inthe fing ‘The Bass Clef Sinoot is ths gnisplacodatthe toestaiah enact nningot each tat beat boat Note Lengths brthobeat the iferencein engin boing shawn pyvatious typeof re. pesusodinBars and barlines: Barine Doublebae ine Bests usually roupthemseivesintoragule porns ene two. treet tour to enon those potters. the musicecvseaby barnes double ber tneisusedto separate ering sections of musiomthina snp pice, Time Signatures Atimesigaaureis placed athobeginningot there are nator, onihetypecrcte that equalsone beat Itisprinteinafrectonalfom, ‘hovalisotthectotenateeingshownass J showing 2crotchetbeatsin each bar Athintoikeoublebaridietesnecrdote peseoroverceeUNIT! Flat Signs teummarised from pa} Notes and Fingerings jsun Bb Ab G F Eb Eseryateinmusccanbersicaderlaweradtat Eb Open Jorat Open atone. The sign forloweringa note half s tones 2 3 bhefetsgnshownin teense Ding unt ‘and2.fetsignswilbeusediostow8b.Ab =—«Bb Open 1 1 Open 1 ena 2 wine ttec ue ofthe th valve wlimerove ‘hetungo tw Fonnonsomoenat Exercise 1 Exercise 2 Exercise 3 Exercise 4Exercise § Musicanship When youprctsetheinstumental sci natce — sarkesuithisckets, Breaths erenosmally how tonotes formpatemsalmestasifthay konattheandsoF ghar: adatonslereths worewordsinarhyme. nmusicthese rate cancetaken butthese murtte rect sos battemssrecaledbtvases:ohaptoicentty —_rattedisturo tanta om ofthe ahrase. ther, phrases insome ey sos hayabson AMARCH OF JOY a Brightly “iy Beto c a (CHANSON DE NUTT Fairly slow trata! eeactune c 1 1 be . TUBA STOMP Lively Peter Wastall io Lt 1 ©Copyright 1985 by Boosey &UNIT 2 The Pause Sign Rests bat best__boot__—baat eat__boat__beat_best Whonapausasionis placedoveranote,tte _Thelangnof me inwhich rotesarenot played Demstopsandinenoteisokyed torapetiodot is shownbyvatous ess, eacnnate ving Timelonger anit printed value. Dung thelist equvagrtvest. The example shows tenn section! tisboostheavze ibe use resubvobestsof slence| andthe cretnet att manivintheoxecises idontfvirgindvidual ——_enebeate since noes that ate tebe sustained for astong 9 sessile Exercise 1 a Exercise 2 Exercise3 ARFFIGYSBREN Ata moderate speed traditional Wee une Tone development neotthenestwaystodevelopatultoreisto 2. Checkinatthedlaphagmisginga fi ay indidualorg rots. n hens that supgorttothoar seam. {olows,carvoutthe folowing di 8. Check rat the instrument isheldin exch "ston closely tothe sound arin for fl, positonthat helps ean visa eey. om a LET'S BEGUINE (dae for ppiland teacher) Inthestyleofa beguine . Peter Wastall “Chord symbols for keyboard accompeniment ©copyright 1979 hy Boosey. Hawkes Mase Pabishers Lid °UNIT 3 E> TUBA Now Notes Keys and Key-signatures Dotted Minims E> Db C om i eee, Seime yoetot SS Exercise2 a be Exercise 3ABERDEEN Atamoderate speed Am 8thectary Seats elds Tone development | Use orerse\aioreamatingtheemtouchure 3. Encourage the is tovie femationtorpbyinacpen notes Eb Bb-E>._thecornersot nema 2.Plyeach note wthastongav pessu, poston ata times keeping me daghroom meseratoyam 4 Raseatthocn tr cach xerace inthe core ALITTLE ETUDE Eairly slow. Antonio Diabelli MARCH Brightly Nicholas Chédeville uUNIT 3 BLTUBA New Notes Keys and Key-signatures o eo be "Because ofthe key signamive oth these notes rmusttioplayedac Bb 4 1 orgs Open ‘When fat signs are placed atthe beginning ot 2 g ord sachstalf theyarecaleds key sgnmtute Each Fatisplocedon espactictineo’ spies inet ‘ayedastha lt were against the note, The wo ‘ays thstusete ey signature wth rae ats a EbMajorane Miro. “Where fite, use ofthe th vale wilirarove the wningatlow Connoncompensating Dotted Minims Adotatteranotelenathensthateotaby nalts ‘ale Because ths, dottedminm willbe ‘equal toaminin beat pista minim (bet) maiingaotset vos eoteher bons Eb Major Exercise Exercise2 Exercise3 AAAABERDEEN Atamoderate speed A eh ceatrySettsh may ‘Tone development | Uspevorose\aiforcomsanngtheembouchure 3, Ereouragetnelinste verte fray. pu keep {ormaten ter iayingcpon rats &b-F-Bb ‘tnecomnersofthe mouthinthexeorset 2 Payeochnatewthastongoi esau posaenatat ies keepingthe diaphragm moderately im 4 Repost in ifr eae exer396 o z= fF Atamoderate speed Friedrich Flemming (GERMAN HYMN Bright and vigorous Ignaz Pleyel 13UNIT 4 E> TUBA Semibreve Rests Ties Accent Signs Asembreverestisused te show anycomplste Alois acunadinepacedove’ erundst two An accent slgnptaoad over o under note car of es, regardassoftho nunteol Qestsin notes ofthe game neh Tha te jane the nes meant the note must be Oven 9 song the bar When iteccurs you must examine the far aking one cninuous rote nore te atone wl the tongue, OF rong tcc tine Sonate to find he ruber of beat to be @cominuousnote ho sesondmai®—Geombinad with alte "punch tom he counted. Compre the thes examples tongue ‘bapmagr Exercise 1 Exercise 2 Exercise 3MARCH “fal the ward were pape” Derek Hyde Ina bright march tempo (© copyright 1973 by Boosey & Hawkes Music Publishers Ltd Musicianship ‘he grade aura tests isued by the Associated ‘The bility to remember melecc phrases pays Board ef te Roya Schools of Music ul ep snmportant pari the developren of musicianship. Tohelpdevetopa meloce memory oveopment ae shou be memory, ryeach week tamemarse oneof the corporatedinta thelesson at ths stage, shorterinstrumental sles MEXICAN MADNESS, Lively Peter Wastall Bom eb, Ab Bbm £7 Ab (© copyrigh: 1979 by Boosey & Hanes Music Pusher Li.UNIT 4 B>TUBA Semibreve Rests Ties Accent Signs [Asemibrove rests used to show a tor fest, regardless of ners nt sign placed over orunder rote mberefbasisin potest tte samepiich Theteiois erates means thatthe note must be aven 3 St09g thebar Whenitaccu'syourmustexemine he together mating ane continuous rte, narder to stack with the tongue, Often this tong attack te signstutto lind the surmber of beats 2 BE contincus nose thesecondnate‘scombined wih alti punch fom ounted. Compare the tres exarnpi=s be tonaued Siacivear Exercise 1 Exercise 2 Exercise 3Ina bright march tempo citar oe pager” Adapted from a metody bth ori were rapr pte rom ‘©Copyright 1975 by Boosey & Hawkes Muse Polishers a Musicianship Tho ably to remember melodic phrases pays se important pan inne davelopmento rmusicanship.Tohoip doveop amelode: ‘amor, ry each week to memories one ofthe shor instumenta! sobs. ly eb ‘To grade 1 aur tost ised by the Associated oardol tha loyal Schools of Musi wn help memory development an shouldbe ineorporateint the losson at hs stage MEXICAN MADNESS Peter Wastall Fm Bh? ©Copyright 1979 by Boosey & Hawkes Music Pushers ad vUNIT 5 E> TUBA New Notes ANew Key-signature Repeat Signs eS] Eb The mokoyethatusethe ley sanlurewith Where sectonas tobe payed twice. a pair Nalerand Minor Tre muse dots aced atthe bopining The sation and retes Eb Maier onothar the en Used inthe wayne do pe of dts When thee sony one set. he repent Eb Major Exercise 1 Exercise 2 a Exercise 3BRANLE Brightly Nicholas Chédeville Tone development By now itshavidbe possbleto pay missle Bb 1 Lstanlasty othe sound. amin fora, ‘uhauitea'te tone. Thenestevereae shows even tne ow focary tis ichtone downwards towards 2, Check hat the dapheagmis ging rn thefowC. As oupaatve to exercise, carryout suport teak stream she folowing 3. As thenotes desbond, graduoly enlarge the rmeutneavey by sightyopenng re gap Setween ne tet, Fairly fast SERENADE ‘Ata moderate speed ALITTLE PIECE, Robert SchumannUNIT 5 B>TUBA New Notes Repeat Signs D C Bb Open 1 When asecton has be peyed vee, 2 dots is plced athe cogerang ofthe ston and rather st the nd. sea in Hs way the dats et 2 butlers bouncing youbacko he previous set ff dots. When here sony one set, the repec's rade bockto the aeaining oe poze Exercise 1 Exercise 2 Exercise 3CHORALE, Ata moderate speed 16h century German melas Tone development 1. Use exercise for comparing the 3.Commence bar with an embouchure ‘embouchure formation ler piving open formation dente! tat ormed at notes, Bh, Play the first tree notes egining ota ute fry, concentating cn accuracy 8, Repeat exerci fal usingthe notes shown pieh erorcse b) (canst, 2 Ina 2, breathe through the comersof the rmoutnkoaping the meuthpece stil @ e @ o mm > >> “AH VOUS DIRAI-JE, MAMAN” Falely lively A MELODY IN PHRYGIAN MODE, Allegretto No.2 from "Mirah" Va ‘Béla Bartok ‘© copyion 1940 by Hawkes Son (London Lis aUNIT 6 Staccato Marks Quavers 24] ee When adotisploced over or under a ote vevalveof aguaveriehaliacotcat: tis Indentes that the note sto sound detached To pnecwith alan tne endef ster. For 83 chives, erote splayed shvterthn ts of eadng groups of queers usualy Ra ha Tater tke saying the word TAP Exercise 1 Exercise 2 Exercise 3 ma 2BRANLE DE CHAMPAGNE, Faily lively Claude Gervalse Aids to music reading ‘When you ply quaverseadthem ea two be developed the wales posse stage of sale word For example, when youreadthe muse reac, Ta hep this doveopment cach ‘or! "Doetar you dort ead "Doe then tor, me quavers occur mate conscious ef to youread Dect’ This bcek’ easing stilshouk! read both nates athe samme ame CORUMBA Lively (in the style ofa bossa nova) Peter Wastall eb 867 Bb eB eb Ab & bby & © copytight 1979 by Boosey & Haste Mosic Publisher LdUNIT7 New Notes Italian Terms Slurs Moderato E> . 2 Naan terms describa how fasts pleco Is sltina curved ina paced evarorunder nates tebe played and how lous or soft the atlifereneptah seats hat the ‘musio shoule sound. The terms which __sentanecttmn he slr ee toe played Bb 1 ie describe how loud or oft the music sroootly nana ceninucu breath. In order to-do should sound are usually abbreviated this only ha et tes tongue ‘A tablo of tho abbroviasions is primed in Unit 11 where this aspect of technique is developed. A ist of tain terms is , , Printed at the end of the book, Exercise 1 Exercise 2 Exercise 3 24NUTFIELD Moderato W.H. Monk = s> 2 Tone development 1. Predune the downward le by si 2. Produce the urd slr bya small contraction Note: Playither he Eb exercise or the BB ‘eisation of the embouchure ruscies ofthe errbouchure muscles exercise 2 apreprista.DO NOT PLAY THE 2.inbar2, brethottrough tho camersctthe 4. Fepestexerase gl using tenotes shown in PARTS TOGETHER mouthkeeping tne embochine formations exerase bl Stiles porate anh, Ne LAND OF OUR FATHERS A tration Wot tuneUNIT 8 ANew Note Keys and Key-signatures =] | A > intakes, the name ofthe major key canbe fauna by courting fureter naris down or tho ast at. The ov senate Ths bho Borde mete eran oferty Exercise 1 Exercise 2 Scales and arpeggiosGERMAN DANCE, Moderato L. van Beethoven ™p Musicianship ‘Auitiontengung nd luring usedin wind thoughtof as thermic equivalent of lecuton. In thi wit concent on improving your ‘musi! loys animporantpatinthe creation of Thetongue must prodioa afrite andclear _atiulaton using 0 gve sonal meter fvprestion Ins tho speechof musieandeanbe tack, aided by wellprepared teat" suppor. tothephvases. puo Adapt frm St Petersbare™ Andante Dmitry Bortniansky aCONCERT PIECES FOR UNITS 1-8 Plano secomoaniments tothe concert pieces book, These shoule ba used ta provice experenee in slaving with an secompanist, ‘Ancante’ by Guritt i an example of music nat nas been set for early grace TUBA-TALK Jauntily DEREK HYDE, mf cantabile eres. ip crese, © copyrigh 1985 by Boosey & Hawkes Music Publishers Lid =ROMANCE “Homage to Peter Ilyich” Molto moderato KEITH RAMON COLE — F = ~_— P ©Copyright i981 by Hoosey & Hawkes Music Publishers Lid ANDANTE CORNELIUS GURLITT rom First Steps” op.82 (i820 1901) from "First Steps” op 82 arr, PETER WASTALL Andante mp cantabile a 2UNIT 9 ‘ANew Note Dotted Crotchets value, re value oro w ‘one ands hat crotehet mss he sare BF length of saunas tree qunvers aed ogeihat Lok atthe example then study the sity “Into i unit tb Tub Exercise 1 Exercise 2 Exercise 3THE EMPEROR OF GERMANY'S MARCH. Tone development yeetof exerses odevelog maximum 3. As youdtscere gral eng the mouth vosstionst the incon cavyby sign peng te (Check thot the face muscles are prosery teeth formed ital tres, parcully the comers ot 4 Use thane oro Bb on nom-sompenseting ‘the mouth outs t= mouth ‘bas WS RF Ce eg NSP MS ae NSE FANFARE Macstoso Nicholas Chédeville mf a>>eh saaTF S55 ;UNIT 10 New Notes identals = = b Db * » 2 2 Eidteatna sconce tel the samepitesinthat bot owroducedin unt 3 orb Tuba Exercise 1 Exercise 2 ay Exercise 3 Ss of 2Sedes and srpong.08 Bb Major, obo payed om momery Tone development 1. Use the fist note testable a good 3. Payer ttortion tothe su, even fa note ‘embouchuee formation Taso spoak. est the vempiaton 2.innse2an0 ensure mxmumenibliy by tengue lsngamnimumamcuntct mouthpiece 4 Repeat exercise abusing the notes shown in pressure against hops, ‘exorises (th na & a _—. ‘0 el ‘al LE PETIT-RIEN Francois Couperin Allegretto (LeGrand) mf eresc. f ELLACOMBE Allegretto German traditional tuneNatural Signs Italian terms: Dae] PP sessot Powe fe Mp mosey maf voeseviod = vwwrsivouter natural signis used wearce!a fs oesharp. alan terme alge deceibe he moud of 2A tebe of Italian terme whieh show how Shcoitisstypect acids twilonky ast ior ple, changes of seed and large reoeets oud or oft the musieenould sour it ‘obarimwncn ts pentos However onote suena da capo. Ae wth Iralian tome printed apove. it snould be used in lnothistoon ateradscoursaganinthenest introduces ear. Enalish transations Conjunction with the tuning technique bot, anadetonal ccidonta soften veodto ean Be found et the end of the boot, Introd 19 he unit conf thatthe nove has retuned its iin ph Exercise 1 Exercise 2 Exercise 3 2——— o_O of 4ALITTLE PIECE, Moderato Cornelius Gurlit mp —_ ovo D.CalFine Musicianship Croscendes and diminuendos play animocriant the aearssura wiimako snotego sharp. end Tosiabilse the 1ang, alow the fpapertute to Bortn cresting exmession burneodeateuluse _advmirverdo oduod by aura ea open lig during crescendo, and lose ‘nce they also have a ella an tuning pesure) wlmakn note go a ‘Sohtiy curing sd minuande. Basically, a crosconde (produced by nereasing DUETTO Andante J.B. de BoismortierUNIT 12 New Notes Quaver Rests beat beat ba beat o Minor Keys & 25) Aquover rests atest for al crochet bes Torr therame ota minor key, coun theo aor z Bar! ofthe example showsitoccemngonthe ete names dow incisive rom the name of second hatota cotchetbest. andar2on tre _themajorkey.Tofind out whether the musicis 1 Frsthal Themythmicdiference between the inamaprora minarkay, compare twith the ‘wrorhythms shouidbe clestvunderstood before appropriate scale Bho plying ther rloted excreses | odown oninseumenss without compensating tubing F Minor Exercise 1 Exercise 2 Exercise 3COVENTRY CAROL —__—_ mp Fourth valve technique — Eb Tuba 2.Onadivaved Eb tuba use ves 1.2m ter 1 Onanon-compensating valved Eb tuba use toe aot that he tuning hoy to valves 2 and foriowE Practise this fngoring Imoxorises l(c and ie. Apalytheringening to vory sare. Pract exorisos al (land threugroutneunt ‘vary sol, eoneenvingcn ping nelow E a ) ‘et An English 16th century carol 2 On scompersiing Eb wba, ether f tho Frege shown forlow E maybe used However. in many passages valves and & tae ote t most convent Practice ‘rere [be anda th th vale low land and diow Eto deveepskilausing those frgenings. o ETUDE Moderato 3 Antonio DiabelliUNIT 13 Compound Time Compound Time-signatures bet bea beat beatae = ene whale best ampound imo, Thevarous notes etn the nding swa dette crochet beats ab same vue inrelaton ta wach ote, forrstance, chart showing \alue'm ation tothe beat s ihe prada the and of he book Exercise 1 Exercise 2 Exercise 3MARMOTTE Allegretto LL. van Beethoven mp Aids to music reading roxsthem ss tiney wore treasylable woras_texingernane oa yh grous conta Asan exampieof is, try the ist axerse weninene eeat EMTATIVE 8 yousiaye80h Duo Legglero Frangois Garnier Teacher . T crese. Pup 5 a? Eeresc. 2»UNIT 14 New Notes 8 2 3 1 2 Sharp Signs | ‘The sign for asing a note by ala ton is calle asharpsign. Live the at sign canbe laced be placad atte beginning af each sai to form 8 ANew Key-signature notes must bo piven 0 FE in sharp key. the nan ofthe major key ean be Tho eamio shows Key agree ‘ath therefore te rem othe man ayia Mais, Exercise 1 Exercise 2 Exercise 3Scales and arpeggios © Mio. ta be played er memory Tone development uring each axarse maintain etiestie 5. aysine tention tothe sus. even fete emboushue, Butkeep theairpressure song faisto "speak", rosst the temptation to aru ven, renguea. 2.Stve to heap hetone quaity uniform, 86ng 4 Repeat exercise (al using the eb ‘Moaeraro Antonio Diabe LULLABY Andante Franz Schubert aUNIT 15 Tenuto Signs bors = ar lay te nema the st time engi tore hw sed en gh. tut ohan heya epeatad he st soctad witha type occurs, shane 2nd sry ris emiteg and ths seconde sar framieis taken tom “En feste Burg” nwhich paved instead nplaced over orunders rote rnetns fesse, Usual fof tonguing where ones Exercise 1 Exercise 2 Exercise 3 =: = a 2 a re aes (oe | ee 4aEIN" FESTE BURG A chorale by M. Luther ‘adapted by J-S. Bach Musicianship Sorrainos te generale suggests rata paved staccato when Toe "Oyo" by Onedoet CIS an DUO ING MINOR Esprit Chédevile Fine D.C.al Fine “aCONCERT PIECES FOR UNITS 9-15 AAs with ealior concert pieces, piano sccompanimants should be used to provide ‘exparionce in playing with an accompanist ‘AW by Gretry ond ‘Make Mine @ Tubs" oy Norton of examples of music that has been 0t for early grade examinations PROMENADE Jaunty and fairly fast DEREK HYDE, —— 2 —— g SS gy . = © copya80 y Bosy & Hayes Mise Pies Ta f AIR ANDRE GRETRY from “Richard Coeur de Lion” (1741-1813) Moderato arr, PETER WASTALI © Copytighe 1980 by Boosey & Hawkes Music Publishers LidMAKE MINE A TUBA Moderato CHRISTOPHER NORTON ‘Copyright 1985 hy Boosey & Hawkes Music Publishers LaUNIT I6 Semiquavers ‘Syncopation Co) Exercise 1 Exercise 2 nf Scales and arpeggiosLARGHETIO Larghetto W. A, Mozart mp Aids to music reading Win biosks of our semiguivers ead each two extcises shown oprosta and mate ‘group as you nouldfoursylabie word Stat consoous son to readeach black four ‘wth passages thtare easy toplyfuchas the samiquavets as asa unt A SYNCOPATED DUET Allegretto 4UNIT 17 Now Notes Dotted Quavers bea beat beat E F Eb 1 bats fo Bb open Compatestieteat STUDY No.l Adagio Hipployte NiesselSt. ANTHONY CHORALE Aids to music reading ‘The readng echrique fora single semi tograup the semiquaver wh he net sehen folows.Inlaely movements ausetu way te achieve ss to pronounce th to not0s aif ‘ajng the werd TODAY. Aan example, play te Allegro deciso nf ust note fhe “See's Maret” ay Schumann, ‘ee Wink TODAY a you lay he naxa wo notes. This reading technique can te used every ime. doteg hsm occurs SOLDIER'S MARCH R. SchumannUNIT 18 Semiquaver Rests Note patterns using Semiquavers (oteret best Nate that similar Example of soma Exercise 1 oe > Exervise 2 mf Scales and arpeggiosSHORES TRUMPET TUNE, Fromm an eighteenth cntry Pomposo, lection of rump tunes crese = syllable DAH. hon vioginths manera demands thar vigorous, accented not etng the musicinalegato. toring be used sy. Compare the so with ha nooded for Paving "Shore's trumpet une”, wher themace DUETTOING MINOR Adapted froma duet Andante by F. Devienne ‘mp ewressivo ‘mp expressivo — 6UNIT 19 New Notes Double Names for Notes FE G CR=Db DE=Eb FR=Gh | AB= Bb GE=AS b 2 Open ——TrointenalbetweenA ond el Sineea shep rites rote by hal tone, and fat overs anoteby na atone, tole hat AE Bb « . 2rd Bb ae deren names ortho care note unl nes canbe gvan a the lat an ned 58 *Bb Tuba plays caer nates whore indicated STUDY No.2 Andante Hippotyte Niessl mfScales and arpeggios Mier harmenie feel 10 be played ram memory Tone development |.Concertatoanamusculrconvactin ofthe 3 Pay bar Jara speedteomtanabie to your 4. Repeat exercise fs) using th noes showin ‘embouchure for sig Nese sale nterval@moouehuredeveeprment Ba caraulto exer hand toate ‘ainain te hythm see upward srs re 2.Usobarstand2:w establish tho muscular feel oflen sow io regponaen Me ba, ofthe exerase, 6 ja 2— @ —_. w= iw a 9 ASS —— w= 6 “ ie WALTZ, Andante Frame Senubert oS CONTREDANSE Allegretto Joseph Haydn f D.C. al FineUNIT 20 New Notes Three-two Time 1. Thetime-sianstue of rroeswoinloates thet 2 mere ave oe minim baisin each br THe 3 aus tenoter neato otha neat shown | intheexsmpe, Exercise J. Weissenborn Scales and arpeggios D Major to be played from memocy 2b major. tobe payod tr momaryGAGLIARDA Moderato cresc. v4 =— Fourth valve technique —Bb Tuba 1. Ona noncompansating valved Bb tb, 2.Ona3-valodBb 10a use anes 1,2ard3__ 3. Onacompansating Bb tuba, sithorf the use vals 2 and. forton B Practise tis forlow 3 turcoawarethetthotuningis key fngorogs shown Forow B may be used fingering nexerises (2) nd) Appiyshe tobe ver¢sharp.Pactsesnercses{o)(s}an_-Homeve, sn many paseages valves 29nd 4 ‘ingen hroughout ts un (aiver slow conenvainganlizpagthe _argollenthemost convenient. Praca low Bin une ‘rare (a anc nth Ath yale ow. {and ana iow 8, todevelop silat using thee leetings. a tol ‘) al uo Moderato Hippolyte Niesset 86UNIT 21 New Notes Change of Time signature STUDY No.’ _ aoeCANTILENA Mato gato “i espress. ral ©Copyright 1979 by Euitio Musica, Budapest Tone development |.Oeszenabyceaationenseng sure thafacsl 9 arotetsiero"sp0aK mtheascercing Sr, 4 eneat xrO9e usa heres Shown in muscles ters uner cnt. @ectrat te dag giv afm veces (and (2 Z2iftelowernote fa torespond. checethet__SuBGEN TO Masten and Pa Rea tremaumendviesutiennyopanandiiat _pessueisatongaracven ‘elpsareabietovbrae ea, o> a2 f Bb bi > ft THIRD MODE MELODY Largo Thomas Tallis AdagioUNIT 22 Triplets ae 'S of Several Bars Atpat canbe detn thotmect two neos instance, thos cusvst loved te ime ‘quavers). The rambo 3 thom ts snow the momenta 2 value, 28 tree notes paved in Exercise 1 Withelmn Popp 2 Scales and arpeggios {6 Majo tobe ployed ram memory = ca ver AlbMajr tobe payed fem memory th ~~ 7 {GMinortharmanie for) ob payed from memory *ARIA, Andante larghetto G.F. Handel mp dolce espressivo SS $ = erese. —= ==> ¢ ~ od —=>—. Musicianship Both pacesio isunt have pererning ‘were these meds andinparicur wee the pixing. The portant hing ta tomembor ie that deectonsrelting other moos: he verde shapes the pases fore-panng beserming irecnarsareastaning cot or i i marked doles esess¥v0, 2nd ne Tredyarnics nthe “Ai, te rene Duo" ayMessalgrancso. As youre. try cate good ooporunes notes eating your own exgression DUO No.2 Grarioso Hippolyte Niessel mpCONCERT PIECES FOR UNITS 16-22 ‘The Merry Poasant’ by Schumann, ‘Quick Dance’ by Boade and Jimbo’s Lulaby’ by Debussy ato examples of music thet has ‘boon set for early grade examinations SOLSTICE Poca lento KEITH RAMON COLE , af (nisterioso} + dim. P SS ©Copyright 1980 by Boosey & Hawkes Masi Publishers Li ARIA W. A. MOZART O sis and Osiris” ise 1791) arr, PETER WASTALL Adagio mf © Copyright 1983 by Boosey & Hawkes Musie Publishers Li.orese mf JIMBO’S LULLABY from “Children’s Corner” CLAUDE DEBUSSY (1862-1918) Ata fairly moderate speed are. PETER WASTALL mf ns ©Copyright 1985 by Boosey & Hawkes Music Publishers Ld otTHE MERRY PEASANT jrom “Albu for the Young” ROBERT SCHUMANN " (ISi0— 1856) (Cheerful and lively art. PETER WASTALL : 7 - “ ¢ ¢ = pytight 1988 by Boosey & Hawkes Music Pubishers Ltd QUICK DANCE | ISTVAN BOGAR Vivace (6.1937) —=— > Pinay e sinaan & Co, Amer, Bucs san |BASIC FINGERING CHART ELTUBA E> D DDC BB A AG FHF E SS E> D D> ¢ BBbAADG FEF E 3 \ Open 2 1 1 2 m2 TT Pa 2 3 2or4 Aor2or4 3or2 30rd 3 $4 44 4 4 I t I Lip down on ins:ruments without | compensating tubing | Ee upon instruments without compensating tubing, * Best fingering for instruments with compensating tubing, ** Not available on instruments without compensating tubing 6BASIC FINGERING CHART B>TUBA get ee B> A Ab G FHF EE DDC B Open 2 Open 2 1 Open 3 2 Bb AAPG FEF E BBD DC B Bb A Ab Open | Lecown on instruments without ‘compensating tubing, Lip up on instruments without | compensating tubing * Best fingering for instruments with compensating tubing, © Not available on instruments without compensating tubing onTIME SIGNATURES 1. Look up the time signatu 2. Look in the left hand column te find the number of beats in each ba’ 3. Look in the top row above the time signature ta find the type ot squals one Sim le time jompound time Value of each beat (type of note) a a & we ra Value of each beat as a fraction © a semibreve 2 beats in each bar tS | al BO RS ae |e, jane | ane> | ares 3 beats in each bar ace seas fives [amas ae RS RD |e | oes 4 eatin ech bar 4 BB Atenpo sour verses BEd xs ran (2) 3 Accelerando Secomina gradually tacter. —Espressivo (espress.) with excression, Pill Mosso More movervant, quicke Alario reson mine Cr Qua so omc Andantino & jie andom, Legato sraotiy Semplice sinoie Animato Animas Leggiero Lom Sempre ‘Atv Cantabile 2 snaing vie Lento slow Sforzando (sf, sf) Forcing accentos Con wien Maestoso \sesisly Solenne Solem Crescendo (crese,) aacoming ous: Meno moss0 Lass movers Sonore Sona:ous, fl sone Da Capo (D.C.) al Fine 82k ro Mezzo forte (mf) tsoderetly lous Sostemuto Sus:e' ining an iis 38 the word Fins Mezzo piano (mp) \oaerstey ott Spirito Sov ite. oneay Dal Segno (D. $.) From the sion % Moderato voosrai sine Tempo Resume the orginal sooo Deciso. Decisive, tiny Molto sour Tenuto Hels Diminuendo (clirn.) ecoming grasusliy Moto Mover! Tranquillo Quietly = Non troppo or :00 mus Un poco a ive, Dolce Saeetly Pianissimo (pp) Vorv so Vivace Lively aLEARN AS YOU PLAY is the award winning series of tutor books for woodwind and brass instruments from Boosey and Hawkes. ‘Written by Peter Wastall, a widely respected and experienced teacher, each book BY. takes the student from the very beginning right through to the standard required - ME ioc Grade 3 examinations. ‘Tne LEARN AS YOU PLAY methodis simple to understand and easy to use, Each book's divided into units that previde clear explanations of each new stage of learning. Plentful exercises are included, along with Concert Pieces, many of which have been set for examinations. This up-to-date edition has been newiy revised to take account of the latest developments in instrumental teaching and examination courses, LEARN AS YOU PLAY provides the complete quide for the beginner. It is the ideal introduction to the joys of playing ‘a musical instrument For further enjoyment, siudy and practice, ty these other Boosey & Hawkes publications, THE COMPLETE BOOSEY & HAWKES TUBA SCALE BOOK 9814 ‘The definitive scale b00% to last you a ifetime, covering the requirements for grade examinations. Ths book wil polish your technique whatever your level Tae guttttt PIANO ACCOMPANIMENT BOOK €562 Keyboard pans to accompany the Concert Peoas contained in LEARN AS YOU PLAY TUBA. BRASS TOGETHER Edited by lor James and Don Lusher BRASS TOGETHER has music ranging from the Renaissance todezz, There are three loves of citiculty~easy, intermediate, acvanced andar fe orcnestraland brass band instruments fare ncluded, Among the easy ensemble pieces are: Christopher Norton, JAZZ QUARTET 7060. Michae! Short, JAZZ PRELUDES 7458 nd colections for Christmas arranged by Michael Ciack, CAROLS FOR BRASS 1 & 2 7482 & 7468. Meletad Gf Cee ee aed Ee eo (0-88590-090-W NHST