1. The general and specific objectives of the subject are:

General aim of the course is that students learn at a professional knowledge and versatile musical culture, which meets the quality requirements of the era and makes him suitable for the music teacher’s job to fill. The training takes place in a private lesson where the teacher’s personality, teaching methods and instrumental presentation are for example for a prospective student candidate.
Under the semester 8 of the main subject work, the role of the student in the teaching of the teacher’s career is to raise consciousness, emphasize the theoretical background and educate the self-esteem in his instrumental play. It is the task of the subject to explain the methods of effective practice, to create the sensitivity of the beautiful tone in the student, to the inner quality of the perfect workmanship, and ultimately to guide him in the development of his abilities.

The aim of the course is that students should know the literary works of music, mastering, music thinking, knowledge of styles and instrumental skills developWith the formatted, theoretical, and the knowledge of the style, it is necessary to be able to analyze the works, to have independent musical thinking, to develop the need for constant self-cultivation, to expand the existing professional and general music literacy and to perform successful work on the teaching track.

  1. Content of the course

Admission requirements::

  1. 2 etude
  2. 2 performing pieces freely choosen from the age of baroque, classical, romanticism or the XX. century

The content of the course is the development of the playing on tuba, the material of which consists essentially of three parts: everyday practice, etudes l and performances.

The airflow, the resonance and elasticity of the lips, the sound development, the sound range, the strength of the tubes, is the basis for the continuous development of the playing on tuba. The scale exercises serve to synchronize the mechanisms and to secure intonation. The performance of various types of etudes of sufficient difficulty primarily promotes the professional development of technical elements – binding variables, rhythm combinations, various initiations, dual-triple languages, ornaments and trills.

By processing and interpreting the performing pieces, music formatting, expression tools, style knowledge, performer skills, independent music thinking, and personality traits of performers are realized.

In addition to processing the basic repertoire of tuba education, he has paid special attention to the study of contemporary music, especially the works of Hungarian composers, and to the correct interpretation of the special graphic graphics.

In the analysis of the works, it is important to enhance the relationship between music and the related arts, the search for interfaces, for a more profound understanding of the teaching track.

The main field of self-employment is practice, whose deliberate planning, concentrated cultivation and effectiveness ensure the student’s continuous development.
In the field of music, education and performing arts are complementary activities, so the mainstream work program includes preparation for orchestral excerpts, knowledge of orchestral literature of the instrument. Assistance is provided by the profile acquisition of sight-reading and transposition practices.

Development of memory – playing from memory the acquisition of platform security and the preparation of successful concert performances.

  1. The Breakdown of content in semester, control method:

The composition and quantity of the musical material is determined by the teacher taking into account the instrumental knowledge and preparedness of the student. In every semester is recommended for 3-4 performing pieces and 10 to 15 etudes.
Exam Requirements, Final Exam Requirements: In each semester has a colloquium.


  1. 2-3 different etudes
  2. 2 performing pieces from different music ages
  3. 3 orchestral excerpts

Final Exam reqiurements:

  • 1 baroque sonata
  • 1 concerto
  • 1 solo piece
  • 1 chamber work
  • 1 piece must be played from memory.
  1. List of compulsory or recommended literature

Pedersohn: Etűdök
Bobo: Etűdök
Ranieri: Melodikus etűdök
Alphonse: Etűdök IV. kötet
Vasziljev: Etűdök
Stefaniszin: Etűdök
Shoemaker: Melódikus etűdök
Bordogni: Melódikus etűdök
Uber: etüdök
Mainz: Etüdök
Senon: Kaleidoszkóp II-III. kötet

Albinoni: D-dúr szonáta
Gabrieli: Esz-dúr szonáta
Händel: B-dúr szonáta
Händel: f-moll szonáta
Bach: Esz-dúr szonáta
Duport: Szonatain „B”
Galliard: V. Sonate
Eccles: Sonata
Tessarini: Szonáta
Ariosti: Szonáta
Hindemith: Sonate

Performing pieces:
Vivaldi: g-moll koncert
Charpentier: Prelude etAllegro
Rossini: Téma és variációk
Bozza: Andante et Allegro
Rachmaninov-Szentpáli: Vocalise
Gregson: Tuba concerto
Williams: Concerto
Chini: FlessArtificielles
Wilder: Effi szvit
Szentpáli: Andante con mosso
Tom Ritter George: Concerto
Cimador: Concerto
Capuzzi: Concerto
Sallietti: Concerto
Stevens: Variationsinoldenstyle
Tomasi: Etre oupadetre
Kalke: Concertino in F
Lebegyjev: A-dúr koncert
Lebegyjev: d-moll koncert
Koutsier: Concerto
Koutsier: Szonatina
Strukoff: Concert
Katzenbeyer: 3 Spielstückefür Tuba Solo

Publications containing orchestral excerpts:
Lutak; Pliquet-Lösch;
EditionPeters; Hofmeister;

Recommended books:
R. Donington: A barokk zene előadásmódja
N. Harnoncourt: A beszédszerű zene