Not surprisingly, the tuba presents the most challenge for students in developing a natural playing position. Its size often causes students to adjust or contort themselves to reach the mouthpiece and valves rather than adjusting the tuba itself. Especially for younger or smaller students, the best approach to instrument adjustment is to utilize a tuba stand (see Equipment chapter). This type of stand essentially acts as an adjustable chair seat, raising or lowering the instrument as necessary to achieve the proper mouthpiece height. Lacking a stand, small tubas can rest on a thigh as long as it doesn’t lead to a contorted position. Larger tubas can rest between the legs on the chair seat if appropriate, or a player can use her legs to adjust the height (lowering or raising it between her knees).
Like the euphonium a tuba should rest diagonally across the player’s body, but the direction depends on the style of the instrument. Tubas with rotary valves should rest with the bell to the left of a player’s head, while piston valve tubas cross so the bell is to the right of the player’s head. This is also a consideration for placement and line of sight in an ensemble. A sequence for teaching and learning hand and playing position on piston-valve tubas includes:
- Student wraps his left hand around the instrument, gripping the valve tubing with his knuckles facing out and “hugging” the instrument. If there is a fourth valve that is separated from the right hand valves, the player would place his left index finger on it.
- Student makes a “C” with his right hand and rests his fingers on the valves (using pinky as well if there is a fourth valve).
- Student places his right thumb below the tubing behind the valves or in the ring if one is present.
- Student adjusts the instrument to the correct height by resting it on thigh, chair, or stand as appropriate. The instrument should rest diagonally across the body with the bell to the right of the player’s head and no evidence that the student is contorting or changing posture to reach the mouthpiece.
A sequence for teaching and learning hand and playing position on rotary-valve tubas includes:
- Student grips the tubing on the side of the instrument with her knuckles facing left.
- Student wraps her right arm around instrument and with her right hand in a relaxed, natural position places her fingers on the valves, including the fourth valve if present.
- Student adjusts the instrument to the correct height by resting it on thigh, chair, or stand as appropriate. The instrument should rest diagonally across the body with the bell to the left of the player’s head and no evidence that the student is contorting or changing posture to reach the mouthpiece.
Once students’ hands are placed properly on each instrument, the teacher should remind students of proper posture, have them bring the mouthpieces to their embouchures and play their first pitches. As with the initial sounds on the mouthpieces, the pitches themselves are not as important as just producing a supported sound. Typically, students will produce either a low concert Bb or concert F relative to the instrument, but some will produce a much higher pitch. With good fundamentals of embouchure, air, and instrument position, the teacher can work with individuals to refine sound.
Teachers can continue to make use of “air” instruments through singing exercises. This takes away the many variables instruments present so students can focus directly on fingerings, positions, and audiated sound.