Scale and Arpeggio Routine for Tuba Level 3 (Everett) 2 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto.

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1 Scale and Arpeggio Routine for Tuba Level 3 Note: Most of the ranges indicated throughout these exercises are suggested as a "starting point" only. Those that are able should play and/or extend these exercises to higher and loer octaves as they are able. That said the "full-range" exercises do indicate a quite extensive playing range. If the full range of these exercises is not yet achievable one or more octaves can be omitted until playing range improves. Practice all of the scales and arpeggios in a single key area each day. This ay one develops a routine here a ide variety of scales and arpeggios are mastered in a 12-day rotation. C 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Dorian) (Phrygian) (Lydian) (Mixolydian) (Aeolian/) (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

If the full range of these exercises is not yet achievable one or more octaves can be omitted until playing range improves. Practice all of the scales and arpeggios in a single key area each day.

2 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 2 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b b b b b b. "Odd" Scales q = n Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian b Mixolydian n n n Bebop Dominant Bebop Minor Bebop Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone b "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

"Odd" Scales q = 60-120 n Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly.

3 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Scale and Arpeggio Routine for Tuba Level 3 (Everett) Dominant or -Minor 7th 3 b b 3 7th Augmented 3 b Minor b Minor 7th Diminished 3 b Half-Diminished or Diminished-Minor 7th Diminished 7th b 髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ n n n 6. "Full-Range" Chromatic Scale q = b

4 F 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Dorian) b (Phrygian) b Scale and Arpeggio Routine for Tuba Level 3 (Everett) (Mixolydian) (Aeolian/) b (Lydian) (Locrian) b (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q = b b b b b b b b

(Ionian/) (Dorian) b (Phrygian) b Scale and Arpeggio Routine for Tuba Level 3 (Everett) (Mixolydian) (Aeolian/) b

5 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b b b. "Odd" Scales q = n Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian Mixolydian b Bebop b Minor Bebop b Dominant Bebop b Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone b b "Whole-Half" Octatonic/Diminished b "Half-Whole" Octatonic/Diminished

6 6 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. -Minor 7th 3 b Dominant or b b 7th b Augmented 3 Minor Minor 7th 3 Diminished b Half-Diminished or Diminished-Minor 7th b Diminished 7th n n n n 髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ 6. "Full-Range" Chromatic Scale q =

These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if

7 B-Flat 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Phrygian) Scale and Arpeggio Routine for Tuba Level 3 (Everett) (Dorian) (Mixolydian) (Aeolian/) (Lydian) 7 (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major

8 8 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b b b b b b. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian b Bebop Minor Bebop Mixolydian "Whole-Half" Octatonic/Diminished n Dominant Bebop Blues 3 "Half-Whole" Octatonic/Diminished b Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone

"Odd" Scales q = 60-120 Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly.

9 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 b b 9 7th Augmented 3 b Minor b Minor 7th Diminished 3 b b Half-Diminished or Diminished-Minor 7th b Diminished 7th b 髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ n n n n n 6. "Full-Range" Chromatic Scale q = b b

10 10 E-Flat 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Phrygian) b (Mixolydian) b (Locrian) b Scale and Arpeggio Routine for Tuba Level 3 (Everett) (Dorian) b (Lydian) (Aeolian/) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q = b b b b b b b b n

Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale.

11 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b b b. "Odd" Scales q = Scale and Arpeggio Routine for Tuba Level 3 (Everett) n Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. 11 Dorian Mixolydian Bebop b Dominant Bebop b b Minor Bebop b Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone b "Whole-Half" Octatonic/Diminished b 髀ｩﾍ髀ｩﾍ "Half-Whole" Octatonic/Diminished

"Odd" Scales q = 60-120 Scale and Arpeggio Routine for Tuba Level 3 (Everett) n Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they

12 12 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 b b b 7th b Augmented 3 n n Minor Minor 7th Diminished 3 髀ｩﾍ髀ｩﾍ Half-Diminished or Diminished-Minor 7th 髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ Diminished 7th 髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ髀ｩﾍ n n n n n n 6. "Full-Range" Chromatic Scale q = b

These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired.

13 Scale and Arpeggio Routine for Tuba Level 3 (Everett) A-Flat/G-Sharp "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Phrygian) (Lydian) (Mixolydian) (Dorian) (Aeolian/) (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

14 1 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed.. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian Bebop Minor Bebop Mixolydian Dominant Bebop Blues 3 n Scale and Arpeggio Routine for Tuba Level 3 (Everett) b Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days.

15 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th Scale and Arpeggio Routine for Tuba Level 3 (Everett) 3 b b 15 7th Augmented 3 n n Minor Minor 7th Diminished 3 n Half-Diminished or Diminished-Minor 7th n Diminished 7th n n n nn 6. "Full-Range" Chromatic Scale q = b b

16 16 Scale and Arpeggio Routine for Tuba Level 3 (Everett) D-Flat/C-Sharp 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) b (Phrygian) (Lydian) b (Mixolydian) b b (Locrian) (Dorian) (Aeolian/) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q = b b b b b b b b n

17 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Scale and Arpeggio Routine for Tuba Level 3 (Everett) 17 Dorian Mixolydian b Bebop b 髀ｩﾍ Dominant Bebop 髀ｩﾍ b Minor Bebop b Blues 3 Pentatonic Minor Pentatonic Whole-Tone "Inverted" Pentatonic b n "Whole-Half" Octatonic/Diminished b "Half-Whole" Octatonic/Diminished

18 18 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 b b b 7th b Augmented 3 n n Minor Minor 7th Diminished 3 n Half-Diminished or Diminished-Minor 7th n Diminished 7th n n n n 6. "Full-Range" Chromatic Scale q = b

These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range

19 Scale and Arpeggio Routine for Tuba Level 3 (Everett) G-Flat/F-Sharp "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Phrygian) (Lydian) (Mixolydian) (Dorian) (Aeolian/) (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds = q 7 n

20 20 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed.. "Odd" Scales = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian q Mixolydian b Bebop 髀ｩﾍ Dominant Bebop 髀ｩﾍ b Minor Bebop Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone "Whole-Half" Octatonic/Diminished 髀ｩﾍ髀ｩﾍ "Half-Whole" Octatonic/Diminished

. "Odd" Scales = 60-120 Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly.

21 Scale and Arpeggio Routine for Tuba Level 3 (Everett) Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 b b 7th Augmented 3 n n Minor Minor 7th Diminished 3 n Half-Diminished or Diminished-Minor 7th n Diminished 7th n n n 6. "Full-Range" Chromatic Scale q = b

22 22 Scale and Arpeggio Routine for Tuba Level 3 (Everett) B q 1. "Revolving" Scale = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Dorian) (Phrygian) (Lydian) (Mixolydian) (Aeolian/) (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

23 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed.. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian n Mixolydian Bebop Scale and Arpeggio Routine for Tuba Level 3 (Everett) Dominant Bebop 23 Minor Bebop Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone n "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

24 2 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 n n 7th Augmented 3 Minor Minor 7th Diminished 3 n Half-Diminished or Diminished-Minor 7th n Diminished 7th n n 6. "Full-Range" Chromatic Scale q =

25 Scale and Arpeggio Routine for Tuba Level 3 (Everett) E "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Dorian) (Phrygian) (Lydian) (Mixolydian) (Locrian) (Aeolian/) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

26 26 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed.. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Dorian Mixolydian Bebop Scale and Arpeggio Routine for Tuba Level 3 (Everett) Dominant Bebop Minor Bebop Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone n "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

27 Scale and Arpeggio Routine for Tuba Level 3 (Everett) Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 n n 7th Augmented 3 Minor Minor 7th Diminished 3 b Half-Diminished or Diminished-Minor 7th b Diminished 7th n 6. "Full-Range" Chromatic Scale q =

28 28 Scale and Arpeggio Routine for Tuba Level 3 (Everett) A 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Dorian) (Phrygian) (Lydian) (Mixolydian) (Aeolian/) (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

29 Scale and Arpeggio Routine for Tuba Level 3 (Everett) "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. n n n. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Mixolydian Dorian Bebop Minor Bebop Blues 3 Dominant Bebop Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone n "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

30 30 Scale and Arpeggio Routine for Tuba Level 3 (Everett) 5. Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 n n 7th Augmented 3 n n n Minor Minor 7th Diminished 3 b Half-Diminished or Diminished-Minor 7th b Diminished 7th 6. "Full-Range" Chromatic Scale q =

31 D 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Ionian/) (Dorian) (Phrygian) (Lydian) (Mixolydian) (Locrian) Scale and Arpeggio Routine for Tuba Level 3 (Everett) (Aeolian/) (Ionian/) Repetitive and Relative Minor Scales Arpeggios and Thirds = q 7

32 32 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b b b b b b. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Mixolydian Dorian b Bebop Scale and Arpeggio Routine for Tuba Level 3 (Everett) Dominant Bebop Minor Bebop Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone n "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

33 Scale and Arpeggio Routine for Tuba Level 3 (Everett) Arpeggios q = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 n n 7th Augmented 3 b Minor b Minor 7th Diminished 3 b b Half-Diminished or Diminished-Minor 7th b b Diminished 7th n 6. "Full-Range" Chromatic Scale q =

34 3 Scale and Arpeggio Routine for Tuba Level 3 (Everett) G 1. "Revolving" Scale q = Note: Play this exercise both legato and staccato in different octaves if possible. Also note ho this exercise teaches the modes as it "revolves" through scales starting on each note of the major scale. (Dorian) (Ionian/) (Phrygian) (Lydian) (Mixolydian) (Aeolian/) (Locrian) (Ionian/) 2. Repetitive and Relative Minor Scales Arpeggios and Thirds q =

35 3. "Full-Range" and Parallel Minor Scales q = Note: Play this exercise sloly and tenuto. The objective here is developing consistency of sound throughout the range of the instrument not speed. b b. "Odd" Scales q = Note: These scales occur much more rarely than do major and minor scales but are nevertheless common enough that they should be practiced regularly. Playing these only one octave during a single practice session saves time; create variety and increase facility by playing these in higher or loer octaves than ritten on different days. Mixolydian Dorian Scale and Arpeggio Routine for Tuba Level 3 (Everett) n 35 Bebop Dominant Bebop b Minor Bebop Blues 3 Pentatonic Minor Pentatonic "Inverted" Pentatonic Whole-Tone "Whole-Half" Octatonic/Diminished "Half-Whole" Octatonic/Diminished

36 36 Scale and Arpeggio Routine for Tuba Level 3 (Everett) q 5. Arpeggios = Note: Similar to the previous exercise the arpeggios here are limited to to octaves in order to conserve time. These should be transposed to different octaves in order to increase facility and can be expanded in order to cover the full range if desired. Dominant or -Minor 7th 3 n n 7th Augmented 3 Minor Minor 7th Diminished 3 b Half-Diminished or Diminished-Minor 7th b Diminished 7th n n 6. "Full-Range" Chromatic Scale = q

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