Dear Friends,

Here is an article I wrote in collaboration with our friends at Classical Singer. I hope it will help students and families as they begin to search for their undergraduate home!

Warmest regards,

​George

​Posture and Holding Position - General

• Sit your very tallest, as if you were standing from the waist up.  Have your head straight and tall.
• Everyone is a different shape and size.  As a result, posture and holding position will need to be individualized and reevaluated as you change equipment and grow.
• Bring the instrument to you do not come to the instrument.  The mouthpiece should come to you without moving your neck or head.  

Posture and Holding Position - Tuba

• You can have the instrument rest on top of your legs, on the chair, between your legs, or below the chair on a tuba stand. The key is to make sure the mouthpiece comes to the face without sacrificing proper posture.
• Your left hand should rest on top of the top bow, or on its side.
• Your right hand should remain near the valves at all times.  All three fingers on all the valves at all times!

 
Posture and Holding Position - Euphonium

• Some students may have the horn resting on their leg, others will need to hold the instrument up.  Alternatively, a pad or rolled up towel can be placed in between the bottom bow and leg to provide extra height.
• Your left arm bears the weight of the instrument.  Wrap it around the instrument and place your hand on the side bow.  Use your left arm to bring the instrument to you.
• Your right hand should remain near the valves at all times.  All three fingers on all the valves at all times!

Setting Your Embouchure: YEP-MM-BUZZ!

• Keep your corners back and firm as if you were saying “YEP.”  Avoid a smile or frown.
• Bring your lips together as if you were saying “MM.”  Avoid puckering or swallowing your lips.
• Have your lips buzz by blowing air through them.
• If this does not work: try saying “OH-oo” or “TU” to form your embouchure.

 
Starting a Note: SET-BREATHE-TONGUE

• Set your embouchure.
• Breathe in from the corners of your mouth, not your nose.  Make the air go to the bottom of your stomach.
• Start the buzzing by tonguing as if you were saying “TOH”.  Avoid spitting the lips out to start a note.

 
LOW NOTES= RELAXED WINDOW FOGGING AIR!
HIGH NOTES= FAST, FOCUSED, COFFEE STRAW AIR!

Beware of “off-brand” or gimmicky instruments. Ask yourself, “why is this instrument less expensive?” It is probably due to cheaper raw materials and a less expensive manufacturing process. Ask your local repairman if they would feel comfortable repairing the instrument. Then determine the next time you or your program will be able to afford a new tuba or euphonium. It will probably be quite a while! If properly maintained and stored this purchase can be with your program for many years so purchase wisely!

Every tuba or euphonium (used or new) should have valves that are freely moving with minimal lubrication, moving slides (all of them), and should be absent of leaks and large dents. It is important to have adequately secured braces. It is acceptable to have lacquer or sliver plating and lacquer is less expensive.

It is important that the instrument is ergonomically designed to fit the average size of your students. The student must be able to hold the instrument and maintain proper posture and hand position. Awkward posture or discomfort will inhibit airflow and technique. With tubas this is often evident in the wrapping of the tubing. With euphoniums pay particular attention to the intended left hand placement.

Ask a local professional to test an instrument before you make a purchase. My personal criteria is as follows: Is the intonation of the overtone series reasonably consistent? Is the instrument open and free blowing? Is the sound warm and resonant? Is the response consistent in varied registers or dynamic levels? Is it easy to slur or to articulate clearly? Is the instrument easy to play?

Dear Friends,

In August I will be starting a new position as the Associate Director of Admissions for the School of Music at DePauw University. I look forward to traveling to meet music educators, prospective students, and their families to tell our DePauw Story!

​I would like to thank the Marshall University community for their support throughout my tenure with the Marshall University School of Music. I am thankful for our time together and will look forward to hearing about your many success stories in the years to come!

GP

Dear Friends:

I have added new revisions to my Group Exercises page. The "Brass Warm-Up Routine" is suitable for an intermediate level student and is arranged for Trumpet/TC Euphonium, Horn, Trombone/Euphonium, and Tuba. The Advanced Fundamentals Packet is also available for BC/TC Euphonium and Tuba.

If you have any questions or feedback please post a comment below. Happy practicing!

​GP

Everything we do on the tuba and euphonium is predicated upon a free flowing air stream. I am an advocate of breathing exercises to facilitate tone production and musicality. However, it is worthwhile to consider a few ancillary factors that could impede your air flow.

Hear the music. If you don’t have an aural concept of the music you cannot replicate it on your instrument. Listen to recordings. Sing!

Control the pitches and rhythm. Have you ever sight-read and found yourself staring at an unfamiliar rhythm? In that moment, was your air freely flowing or was it restricted? The same sensation can be the result of unfamiliarity with pitches and fingerings. How does this impact your ability to employ a free-flowing air stream? Hesitation with rhythms and pitches can lead to hiccups in the air stream and create tension. This is why it is crucial to practice at slow tempi where you can execute the phrase comfortably! Slow practice is an effective way to learn pitches and rhythms. More importantly, slow practice cultivates relaxation and allows the musician to reinforce the proper fundamentals of breath support.

Control the tempo. Tempo control is vital in slower and lyrical literature. Find a happy medium where musical expression feels natural.

Plan your breaths. Even the obvious ones. Don’t assume. If you breathe too soon it may compound physical tension AND interrupt the musical phrase. And worse yet, you probably didn’t inhale any wind. If you wait too long to breathe, its placement may not coincide with the phrase. In doing so, you probably struggled, gasped for air, and compounded the tension even further.
​
In summary, hear the music, sing, practice slowly, and plan your tempi and phrasing. This will foster relaxation which will in turn allow for an uninterrupted flow of wind.

I am pleased to have the privilege of performing at the 2017 Tuba/Euphonium Workshop on February 4th at 12:15 pm. Here are two videos from my performance.

Thank you to everyone associated with "Pershing's Own" for continuing with the wonderful event!

Cheers!

​GP

My Daily Routines Survey is now published in the Fall 2016 edition of the Journal for the International Tuba Euphonium Association! UPDATE: results are now posted. 

In the meantime I would like to thank Ben Pierce, ITEA Journal Editor, and Scott Lewis, Art Director, for their assistance with the article. Also, thank you to the 187 participants! The project would not have been possible without your contribution.

Happy New Year!

Georg e Palton

It is equally challenging as it is rewarding to perform transcriptions on the tuba. However, there are a few considerations that should be taken into account as you familiarize yourself with the piece. Here are a few:

1. Listen to the composition in its original setting. Imbue that sound into your subconscious. You will instinctively improve your performance as a result.
2. Elements of style such as dynamics, articulation, note length, and timbre should be taken into an appropriate context.  For the Flute Sonata I endeavored to perform with softer dynamics, fluid articulation, and a light timbre. Be flexible, these pieces should not sound like a contemporary solo tuba composition!
3. Is the piece or movement modeled after a dance? If so, familiarize yourself with its characteristics.
4. Often, the greatest challenge when performing a transcription is the phrasing. Plan all of your breaths in advance. Practice catch breaths to maximize inhalation without disrupting the melodic line. In the third movement I placed a few notes in parenthesis that can be left out if an extra breath is needed. 
5. Plan your tempi wisely. Sometimes a slight reduction from the standard performance practice will allow for greater clarity and ease. 

Recorded on November 7, 2016 with Mary Beth Norman, piano