May the 4th Be With You

/ Baritone/Euphonium, Baritone/Euphonium Fingering, Baritone/Euphonium Tuning, Brass, General Brass, General Brass Fingering, General Brass Tuning, Technique, Tuba, Tuba Fingering, Tuba Tuning

Using the 4th Valve for Improved Tuning on BBb Tuba and Bb Euphonium

Who

This technique benefits BBb tuba and Bb euphonium players, from middle school beginners to advanced students, and band directors guiding them in school or community ensembles. Precise intonation is crucial for low brass players in band settings.

What

The challenge is correcting the sharp intonation of low E (below-staff E), B (low B), F (below-staff F), and C (low C) on BBb tuba and Bb euphonium when using 1-2-3 and 1-3 valve combinations, which disrupt harmonic blend in ensembles.

Why

The 1-2-3 and 1-3 fingerings are sharp because their combined tubing length is slightly shorter than ideal due to the harmonic series, as noted in Low Brass Life. This causes notes like below-staff E, low B (1-2-3), below-staff F, and low C (1-3) to sound sharp relative to A=440 Hz, affecting ensemble tuning in low brass-heavy passages.

Where

Corrections are applied via:

  • Fourth Valve: Using 2-4 for below-staff E and low B, 4 for below-staff F and low C, adding tubing to lengthen the air column.
  • Embouchure and Air Support: Adjusting to complement the easier airflow of fourth-valve fingerings.

When

Use fourth-valve fingerings in:

  • Low-Register Passages: In pieces like Holst’s First Suite in Eb, where below-staff E, low B, below-staff F, and low C anchor the harmony.
  • Fast Transitions: In runs requiring these notes, like in Sousa’s Stars and Stripes Forever, needing smooth execution.
  • Flat-Key Repertoire: In Bb or F major, where these notes are frequent.
  • Ensemble Tuning: In rehearsals ensuring low brass blend (A=440 Hz).

How

To implement fourth-valve fingerings:

  1. Compare Fingerings: Practice below-staff E, low B, below-staff F, and low C with 1-2-3/1-3 versus 2-4/4, using a tuner to confirm intonation improvements.
  2. Mark Parts: Annotate sheet music with 2-4 for E and B, 4 for F and C in keys like Bb or F major, as per Norlan Bewley’s charts.
  3. Build Muscle Memory: Assign Bb major scales using 2-4 and 4 fingerings to internalize the technique.
  4. Monitor Embouchure: Ensure a relaxed embouchure to support fourth-valve airflow, avoiding tension.
  5. Listen in Ensemble: Match pitch with low brass, adjusting fourth-valve fingerings for blend.
  6. Maintain Valves: Check fourth valve for sticking to ensure smooth execution, as advised in Low Brass Life.
  7. Address Challenges: Practice new fingerings to overcome resistance, noting non-compensating instruments may lack a fourth valve. Note for treble clef baritone players: Adjust note names up a whole step (e.g., E to F#, B to C#, F to G, C to D) for equivalent fingerings.

Conclusion

Using the fourth valve (2-4 for below-staff E and low B, 4 for below-staff F and low C) corrects the sharp tendencies of 1-2-3 and 1-3 fingerings on BBb tuba and Bb euphonium, enhancing intonation and tone. By teaching these fingerings, marking parts, and fostering ear training through tuner practice and ensemble listening, directors ensure a cohesive low brass sound in demanding repertoire, elevating band performance.

Scroll to Top