TubaJoe

Parker Mouthpiece Endorsement

I'm thrilled to announce my joinning the Parker Mouthpiece team!

This is the first time I've been using a stainless steel mouthpiece, and I've got to say that I'm really enjoying it.  The intonation is the best out of any mouthpiece I've ever used (ever!), and the size allows for maximum power and projection, combined with maximum dynamic, range and articulation contrast. I'm also enjoying the 3-piece modular design, which allows for more options.  The smooth stainless rim is a big help, as there are days where I might play 4 or 5 different gigs all with different bands all in different styles, and fatigue can be an issue.  I have put this piece to the test and it performs remarkably well.  Parker and Hitz have put together a great product.  You should buy one! or two!

www.parkermouthpieces.com

Europe tour!

Right now, I'm working on a European tour for July - this will include engagments playing with several bands, as well as some teaching.  At this point, I'm looking at going all the way across the continent from The Netherlands to Lithuania and many stops between.

This is all still coming together and I have some avails left in there and am working to connect the dots -- please contact me asap if you'd like me to come to you to play, teach, or both!  joe@tubajoe.com

 

The Power of Practice (Vox Profundae #2)

Upon practicing recently, something re-occurred to me.  When I was younger, I learned that practicing was largely about seeking out and eliminating the negative, always striving for cleanliness.

You know what I am talking about...  the old adage of "Practice makes perfect" ...or even "Perfect Practice makes Perfect."

I am saying this is an inefficient process, and I am also saying this process is downright destructive.

While noble on paper, this approach actually teaches us to "accentuate the negative."  This "seek and destroy" method creates an outrageous habit of microfocusing.  While the intent on perfection is noble, to worry about perfection is, in my opinion... excruciatingly NON-musical.

 

Please allow me to digress...  

Performance should NEVER be about perfection.  Ever.  Even the best performances have imperfections in them.  Accept and embrace this fact NOW.

One of my strengths as a performer is audience communication.  I feel that my singular job as a musician is communicating the intent(s) of the music.   The more I play, the more I believe that simply, music is simply a form communication.

I know for a fact if I am concerned singularly with perfection or it being the top priority, the communication is not going to be as effective as it could (or should!) be.  I am “in the wrong place” if I am focusing on what is right or wrong.

Am I saying give up mastery and be sloppy?  Of course not.  We should all naturally strive to maximize the execution of whatever music we are engaged in.  

What I am saying is that is Practice Makes PERMANENT.  

...meaning the intent you practice with will be the intent you perform with.    

 When we practice, we not only work out technical issues and train our bodies to execute certain processes, we ALSO (and perhaps more importantly) train our subconscious.  In every process we go through in practice, our subconscious not only records what we do, it records how we go about it, it records what we really intend, and it records how we feel doing it.

AND when in the heat of performance, without fail, the subconscious reveals its power!  You can't control it and you can't fight it.  You must learn to embrace it, as IT is what drives the performance; not our conscious analytical side.

Now without opening a separate can of worms, let me suffice to say that when you practice, you absolutely MUST train your subconscious.  

We do this by being honest with our method, and always keeping the "communication of performance" in mind and playing everything with a solid and clear musical opinion.

Practically and literally, I am suggesting the performer start by focusing on what is RIGHT with their playing, not what is wrong. Take what is right, and expand that.  Be specific.

 

 

I am not suggesting the common pitfall of only working on what you already know...  I AM suggesting however that you always try to build on what you do know and already do well... push your limits outward always.  Don’t focus on eliminating imperfections themselves, rather focus on a clear vision and the correct organic approach to make the phrase that contains said imperfections.  Slow the WHOLE lick down and work it out, all the while NEVER forgetting about where the lick goes and how it relates to other licks.  ...this step is CRUCIAL!

Work out imperfections through INTENT.  Ask why does this imperfection exist?  Often times, you’ll discover that an imperfection exists not because of incorrect technique or execution, but because of malfocused or undefined intent.  Give every note meaning.

Shedding a lick is great, but always keep the big "performance" picture going.  Where is the music going?  What's its intent?  Why is it hard for me?  Often the music itself will answer the questions.  

--- 

Our subconscious is (and in my opinion should be) our default in performance.  

My best, most memorable, influential, and rewarding performances are without exception, ones where I can calm my conscious mind, so it can be clear and decisive, and open the door to let my subconscious (instinct) support and guide me through it.   

It’s not “muscle memory” (I don’t like that term) It’s the opposite actually, where once our instincts are correctly trained, they can guide us, and our conscious mind can execute the required processes without constant reevaluation or judgment.

Train your default to be solid and consistent, train your subconscious to be confident, and your concious to be simple, concise and non-judgmental.  

 

 

About the tuba: What is a Pedal Tone?

 

What exactly is a pedal tone?

This question comes up a lot, especially from younger players, and the term is sometimes slightly misused by arrangers, producers, even band directors.

Some believe that "pedal tones" on a brass instrument are just really low notes -- like notes on the organ controlled by the pedals. That's only partially true...

Pedagogically, "pedal tones" refer to notes that exist in the fundamental partial of a brass instrument. They are the "real" notes of the horn which correspond to the actual length of the tubing.

For instance, my CC tuba is 16 feet long -- exactly the same length as a low C on a massive pipe organ, and my fundamental a.k.a."pedal" C sounds the exact same pitch as a 16ft organ pipe would play. Its fundamental is known as C1, which is 32.7Hz.

A "French tuba" pitched in C -- which plays one octave above a modern tuba (it plays in the same octave as a euphonium or trombone) is 8 feet long and its fundamental is C2 which is twice the Hz of the octave below, approx 65.4Hz.

Going up another octave is the C trumpet (the trumpet used in most orchestras in the US and Canada)… yes, its fundamental is at C3 (an octave below "middle C" on the piano) which is 130.8Hz

…and so on. 

 
(here is a video of me demonstrating a "Pedal C" on Bravo! TV)

Why do we use pedal tones?

Yes, they can sound funny, even kind of flatulent… however they are an essential tool in developing brass instrument technique. Playing pedal tones not only has therapeutic qualities for the "chops" (embouchure), more importantly, knowing how to play them opens up the entire low range of the horn. Suddenly (and subconsciously!) your brain knows that there are more notes down there, and the muddy low register is no longer mysterious and you are actually playing the "real" notes of the horn. And perhaps most importantly, the pedal tones are a great model of playing with maximum wind quantity and minimum pressure... as it is impossible to play a pedal with pressure. It is a model of how to maximize low-pressure playing throughout the horn. 

 

When done correctly, they are also usable notes - I love to use them both live and on recordings.  Here I use one in the rock band The Animators' song "The Senator Goes To Hell"  
(tuba nerd info: it's a pedal Db fingered 1+2 as a privileged tone on the 4V CC)

Sentaor-tubajoepedaldemo

 

It’s really fun and is a great exercise to play things down really low!

(hey band kids, In ensembles adding octaves down can support the sound of those above you...but don’t tell your band director I told you that!!)


How to find the pedal tones? Let your lips flap and just keep trying to play lower and lower. Once you find it (one octave below your "low C" or "low Bb" respectively) it will POP right out. How to know if you have it?  It matches the note an octave up!  
Once you get it, try playing the pedal going down through the valve series… see how low you can go!  Be patient, sometimes it takes some time to find them!

A funny thing about learning how to play pedals… It’s kind of like learning to ride a bicycle -- it might take a while to get the hang of it, but once you do get it, you never lose it.

Vox Profundae #1

Educational article:

For music it to exist in physical space (outside of our bodies), it must first reside in our heads.

Musical opinion.

Fortunately, there is a very natural way of communicating this musical opinion; simple and organic. 

Sing it.

Singing directly connects and communicates musical opinion from inside the head to outside the head. It makes that connection instantly and in a fail-safe manner. There is no room for error, it is either there or it is not. No variables. 

It’s imperative that we SING as a primary step of learning to play a brass instrument, at any level, as singing is the physical result of that development of musical opinion, at its essence. It can lead execution (and is the most efficient path!)

I often consult with groups, and when they don’t know my methods yet, they are confused at first when I spend a lot of the time having the group sing. (wait, that’s not my show music??) 

For some reason, in this country, singing is seen as nerdy; as weak. It becomes something to hide… it becomes secondary... which is truly unfortunate.

Singing (and all performance) has to be primary, organic, and have reckless abandon!!


One of the most dynamic people I've ever known was my first tuba teacher in college, Jack Robinson -- a true basso profundo. He loved to sing as much as he loved to play the tuba – and everything had to be in a romantic, profoundly singing style. His powerful singing voice had a huge impact on me. 

Some years later I made the pilgrimage to Chicago to study a bit with the Jedi Master of windplaying, tubist Arnold Jacobs. And guess what we did just about the whole first lesson…? you got it, we SANG!! The then aged Mr. Jacobs, too weak to open the lock on his studio door, would powerfully wave his arm and sing with all the grandeur of Ezio Pinza!! He was just brimming with music… and it all flowed directly from within. It was so obvious that his most elemental musical essence dictated absolutely everything.

It took a while for that to sink in through my thick skull – eventually realizing that it was not a theatric thing, it was a specific training regimen and pipline to musical mastery -- making things work in the right order. 

Part of Mr. Jacobs' monumental approach to things was also to (re)learn to see things as a child would… as children (from any part of the world) sing ALL the time! Kids love to sing simplisticly - it is completely inherent and instinctual... at its purest and most elemental level.

Inherent melody, Inherent pitch, Inherent idea, Inherent concept, Inherent VIBE. Yes. Singing is the “musical carpe diem”.

When taking a singing approach to things, there is no question as to what the specific mechanics regarding ideas should be, they are just there practically automatically. It is really that simple. Lead with an idea, lead with an opinion.

If you can sing it, it is easy(er) to play it. The converse is also true, if you can’t sing it, chances are you can’t play it.

Lead EVERYTHING with a singing approach… let it be your guide, and let it dictate ALL other aspects!!