Dictionary:

tuba

  (tū'bə, tyū'-)

1. A large, valved, brass wind instrument with a bass pitch.
2. A reed stop in an organ, having eight-foot pitch.

[Italian, from Latin, trumpet; akin to tubus, tube.]

A tuba is a brass instrument characterized by its large size and deep sound. It consists of vertically coiled tubing, three or four valves, a wide conical bore, flared bell, and a cup-shaped mouthpiece. The different segments of the tuba are shaped and bent from machinable brass using standard techniques. The pieces are then soldered together to complete the instrument. First built in the early nineteenth century, the tuba was invented to provide a bass sound in brass ensembles.

Background

Tubas belong to a class of instruments known as brass wind instruments. The sounds that these instruments make are produced by the buzzing of the musicians lips against the mouthpiece. This causes the column of air inside the instrument to vibrate. As it exits the instrument through the bell, audible sound is created. The tone that is heard is directly related to the length of tubing through which the air traveled. By engaging a valve, the tubing is shortened or lengthened and the tone is changed. In an orchestra, the tuba is used to produce the lowest notes. Depending on the type of tuba it can reach notes as low as bottom D of the piano. It is often used to play quick staccato solos but can also play sustained melodies.

History

The development of the tuba began during the early nineteenth century. During the 1820s, various instrument manufacturers produced the ophicleide, a precursor to the tuba. It was a type of keyed-bugle instrument that could reportedly produce a pitch as low as F. However, these instruments were difficult to play and were never truly embraced by the music community. To satisfy the desire of bandleaders for a valved brass instrument that was capable of playing low notes the tuba was invented.

In 1835, the first bass tuba was patented by Johann Gottfried Moritz (an instrument maker) and Wilheim Wieprecht (a bandmaster) It was completely distinct from the keyed ophicleide in that it was equipped with a new type of short piston valve called the Berliner-Pumpe. Their prototype tuba looked different than the modern tuba but it shared some key characteristics. For example, it was pitched in F, the standard pitch of orchestral tubas. It had five valves that could lower the pitch of the instrument. It was also made from brass with silver fittings.

Next, Moritz and Wieprecht designed a wider-bored instrument that they called a bombardon. It had the same general shape as the ophicleide but also had valves. Their design was adopted by other instrument makers who modified them slightly and began producing the bombardon in different sizes and shapes. Within a few years, rotary valves were used instead of the Berliner-Pumpe valves. In 1845, Adolfe Sax patented a family of sax-horns that ranged from sopranino to contrabass. The lowest member of these instruments closely resembled the modern tuba.

In 1849, the hellicon bass was introduced. This was an instrument with a circular coil that was designed to rest on a player's shoulder. It first gained popularity in Great Britain brass bands because of its ease of portability. In the 1860s the famous American bandleader, John Philip Sousa, commissioned C. G. Conn to produce a more audience-friendly version of the hellicon. The instrument was later known as the sousaphone.

When the tuba was first introduced, it rapidly replaced the ophicleide in bands and orchestras in Germany. It was more slowly accepted by other countries, particularly Britain and France. By 1880, the tuba had become the standard brass bass instrument and the ophicleide was obsolete.

Design

The general design of the tuba has changed little since the early days of its development. It is a massive instrument with a large bell of anywhere from 14-30 in (35.56-76.2 cm) in diameter. The main tubing is shaped in an elliptical coil with the bell pointing up. There are numerous variations on this shape however. For example, the sousaphone is a circular shaped instrument with the bell pointing forward. Certain upright tubas have also been made with a forward pointing bell. Other tubas have left or right facing bells. The position of the bell is important because it affects the overall tone quality the instrument produces.

Most tubas have four valves that are of the piston variety. However, certain instruments have anywhere from two to six valves. Rotary valves are also used for certain brands of tubas. These valves are faster than piston valves but less durable. A large, cup-shaped mouthpiece is used. Tubas are available in five different keys including double B flat, double C, E flat, F, and the double G contrabass bugle.

Raw Materials

The primary raw material used for making standard tubas is brass. Brass is an alloy composed of copper and zinc. Other metals that may also be added to modify the characteristics include tin and nickel. The most common type used in the construction of instruments is yellow brass that contains a 70/30 blend of copper and zinc. This material is yellow in color and malleable. Other types of brass are also used when different effects are desired. For example, red-gold brass, which is composed of 80% copper and 20% zinc, provides a more gold color and a slightly different sound. Silver brass that includes copper, zinc, and nickel is also used.

The zinc in brass makes the alloy workable at lower temperatures. Some custom manufacturers use special blends of brass for different parts of the tuba. For example, a material such as Ambronze which is composed of 85% copper, 13% zinc, and 2% tin, may be used to make the bell. This material gives the instrument a unique sound.

Beyond brass, only a few other materials are used to make the tuba. Most of the screws are composed of stainless steel. In some cases, certain surfaces on the instrument such as the valves or the sliding pipes are coated with chromium or a nickel alloy. This reduces friction and helps the pieces move more freely. During production, flux and solder are used to connect the various tubes. To reduce the possibility of damage, valves are lined with felt where the valve button meets the instrument body. For decoration, a material such as mother of pearl is used on the valve button. Cork may also be used to line the water key. To reduce weight, the bulk of the sousaphone is composed of fiberglass.

The Manufacturing
Process

The demand for tubas is much less than for other brass instruments such as trumpets, bugles, or trombones. Therefore, production is not typically done in a highly automated fashion. The three general steps of production include piece forming, assembly and final finishing.

Piece making

• The main body, valves, bell, and mouthpiece are produced separately during manufacture. In some cases, these different parts may be made by various contractors who ship them to the tuba manufacturer for assembly. The main body is made by first putting a tube of brass on a pole-shaped mandrel. Lubrication is applied, and then a doughnut shaped die is drawn down the mandrel to reshape the brass giving it a consistent shape and thickness. The tube is then heated to make it more workable. It is then soaked in sulfuric or nitric acid to remove the oxide that is formed by the heating process.
• The modified tubes are then moved to another area where they are bent to form the appropriate curves and angles necessary for the correct tone. Various bending methods are employed. In one procedure, the tube is first placed in a die that matches the desired curve. This requires a small bit of mechanical bending. Water is then pumped through the tube at high pressures, causing the metal to expand and automatically take on the shape of the die. Another bending technique employs a ball bearing that is sent through the pipe. Here, the ball bearing works much like the water forcing the walls of the tube to conform to the die.
• The valve system is made using many of the same techniques as the main tube. The casing is first cut from a long piece of tubing. It is threaded on the ends to allow the valves to be taken apart more easily. Using computerized systems, holes are drilled into the casing which match up exactly to the holes in the pistons. The pistons are also constructed similarly. The knuckles, which are pieces of tubing that connect the main tube to the valves, are bent into the different angles as required for the instrument. They are then heated, or annealed, and washed in an acid bath to remove oxides. The whole assembly is held together in jigs and the joints are soldered together with a blow torch. It is then sent for another acid wash to remove excess solder and oxide, and then to a polishing machine.
• The bell is produced from a large brass sheet that is cut to a flat dress shaped pattern. It is then wrapped around a sufficiently wide pole and pounded into shape. At the narrow end of the bell, the ends are soldered together in a butt joint. Where the bell widens, the ends are designed to overlap. They are connected using a lap joint which is then brazed with high temperatures to ensure the proper seal. The narrow end is then drawn on a mandrel to make it the same size as the end of the main tube. The wider end is then hammered further to give it a more of a bell shape. A small wire is attached to the rim of the bell and the metal is crimped around it.
• While the mouthpiece may be made using various metals, brass is often used. It is made by pouring molten metal into a two-piece die. The die is brought together and held under pressure for a set amount of time. It is then allowed to cool causing the metal to harden. After a short time, the mold halves are opened and the mouthpiece is ejected.

Assembly

• All the parts of the tuba can then be assembled. The valve assembly is joined to the main tube and soldered. The bell is also soldered to the main tube. The pistons are inserted into the valve casings and then screwed onto the main tubing. Other pieces such as the water key or thumb rings are also soldered on at this point.

Final finishing

• The tuba is then cleaned and polished. It may also be electroplated with a gold of silver alloy to change its appearance. The company name is engraved on the metal using automatic or manual techniques. The instrument may then be put in a lightweight, felt-lined case along with the mouthpiece and other accessories. These are further packed in heavy boxes and shipped to customers.

Quality Control

The quality of each tuba part is checked during the various phases of manufacture. The primary test method is visual inspection. Inspectors check for things such as deformed parts, inadequate welds, and other variations. In addition to visual checks, more rigorous measurements can also be performed. Measuring devices such as a vernier caliper or micrometer as used to check the length, width and thickness of each part.

The sound quality of the instrument is also checked prior to shipment. Manufacturers may employ professional musicians who can verify that the tone and pitch are within standards set for the specific model of instrument. Depending on the thoroughness of these tests, the instrument may also be checked under different acoustical settings

Where to Learn More

Books

Whitener, Scott. A Complete Guide to Brass. Schirmer Books, 1990.

Phillips, H and W. Winkle. The Art of Tuba and Euphonium. Summy-Birc, 1992.

Othmer, Kirk. Encyclopedia of Chemical Technology, 1992.

Other

United States Patent 5,644,095. 1997.

United States Patent 5,012,714. 1991.

[Article by: Perry Romanowski]

A wide-bored valved instrument used as a bass or contrabass member of the band or orchestral brass section. It is a type rather than a specific instrument, comprising the euphonium, the sousaphone, the lower saxhorn and others as well as instruments called simply ‘tuba’ (a category to which the Wagner tuba does not wholly belong). Its wide conical bore, wide bell and deep cup-shaped mouthpiece give it a smooth, rich tone more like the horn than the trumpet or trombone and help in sounding the lowest notes of its harmonic series. Most tubas are elliptical in shape with the bell pointing upright; in some models, designed for marching or recording, the bell faces forward or is tilted. Usually tubas have four valves; to improve intonation, some have five or six. (For illustration, See Brass instruments.)

Tubas in use today include the tenor in B♭ with four valves (described as ‘euphonium’ when used in brass bands) and a range from E′ to b♭′ or higher; bass tubas in F and E♭; and contrabass tubas in C and B♭ (sometimes called CC and BB♭). The bass tuba in E♭, with a full bore and four valves (sometimes called EE♭), is the type most used in English orchestras; the contrabass in C has become standard in the USA, Germany and several other countries. In France the most popular is a small tuba in 8′C with six valves, with a four-octave range; this is reflected in the high tuba parts written by French composers. The extremes of range normally required in orchestral tuba music are A″ and a♭′.

A latecomer to the brass section, the tuba was developed in the 1820s and 1830s. The prototype, pitched in F, had five valves and could be played down to the fundamental notes. It was soon modified and improved, and came to supersede the ophicleide during the century as bass to the brass section. Wagner used it extensively (notably for the dragon's music in the Ring); Mahler, Strauss and others continued to exploit its solo possibilities within the orchestra. Several concertos were written for it in the 20th century, notably Vaughan Williams's in F minor; Hindemith wrote a sonata with piano. The tuba has been much taken up by jazz musicians and avant-garde composers, and players are required to use a wide variety of effects and timbres.

The word tuba also referred to an ancient Roman instrument, a straight cylinder usually of bronze or brass, between 1. 2 and 1. 5 m long. Its use was primarily military and ceremonial.

For more information on tuba, visit Britannica.com.

The lowest-pitched of the brass instruments. In orchestras, the tuba is usually held across the player's lap. In marching bands, the sousaphone is generally used as a low brass instrument because it was designed to be carried.

Pl. tubae [L.] tube.

1. REDIRECT

The tuba is the largest and lowest pitched of brass instruments. Sound is produced by vibrating or "buzzing" the lips into a large cupped mouthpiece. It is one of the most recent additions to the modern symphony orchestra, first appearing in the mid-19th century, when it largely replaced the ophicleide.

Roles

An orchestra usually has a single tuba,but it is not uncommon for an orchestra to have three. It serving as the bass of the brass section, though its versatility means it can double as reinforcement for the strings and woodwinds, or increasingly as a solo instrument.

Symphonie Fantastique by Hector Berlioz was the first major work orchestrated for tuba. It was originally scored for two ophicleides, but Berlioz changed it after hearing the newly invented tuba. Other composers also composed influential parts for the tuba, including:

• Richard Strauss (Also sprach Zarathustra, Eine Alpensinfonie).
• Shostakovich (Fifth symphony).
• Stravinsky (The Rite of Spring).
• Edgard Varèse (Déserts).
• Richard Wagner (Lohengrin, Die Meistersinger von Nürnberg, Ride of the Valkyries).
• Sergei Prokofiev (Fifth Symphony).

Various concertos have been written for the tuba by numerous notable composers, including Ralph Vaughan Williams, Edward Gregson, John Williams, Alexander Arutiunian and Bruce Broughton. Tubas are also used in concert bands, marching bands, and in drum and bugle (and drum and brass) corps. In British style brass bands, both E♭ and B♭ tubas are used and are normally referred to as basses.

Notable conductor Leif Bjaland has been quoted as saying, "Nothing brings balance and beauty to an orchestra like the soothing bass tones of a tuba." He has also been known to have hired a tuba soloist to help him through one of his many bouts with insomnia. ^{[citation needed]}

Types and construction

Tubas are found in various pitches, most commonly in F, E♭, CC, or BB♭ in "brass band" pitching. The main tube of a B♭ tuba is approximately 18 feet long, while that of a CC tuba is 16 feet, of an E♭ tuba 13 feet, and of an F tuba 12 feet (not including any valve branches). Tubas are considered to be conical in shape as the bore of their tubing steadily increases in diameter along its length, from the mouthpiece to the bell.

A tuba with its tubing wrapped for placing the instrument on the player's lap is usually called a tuba or concert tuba. Some have a bell pointing forward as opposed to upward, which are often called recording tubas because of their popularity in the early days of recorded music, as their sound could more easily be directed at the recording instrument. When wrapped to surround the body for marching, it is traditionally known as a hélicon. The modern sousaphone is a hélicon with a bell pointed up, and then curved to point forward. Some ancestors of the tuba, such as the military bombardon, were wrapped such that the bell extended far backwards over the player's shoulder.

Bass clef music for tuba is usually in concert pitch, therefore tubists must know the correct fingerings for their specific instrument. However, traditional brass band parts for the tuba are usually written treble clef, with the B-flat tuba sounding two octaves and one step below and the E-Flat tuba sounding one octave and a major sixth below the written pitch. Consequently, the tuba is generally treated as a transposing instrument when it is written for in the treble clef, but not in the bass clef.

The lowest pitched tubas are the contrabass tubas, pitched in C or B-flat; (referred to as CC and BB-flat tubas respectively, based on a traditional distortion of a now-obsolete octave naming convention). The BB-flat is almost exclusively used in brass bands because the other instruments are usually based on B-flat. The CC tuba is used as an orchestral instrument in the U.S. because they are perceived to tune more easily with other orchestral instruments, but BB-flat tubas are the contrabass tuba of choice in German, Austrian, and Russian orchestras. Many younger players start out with an E-flat tuba, and the BB-flat tuba is still the standard adult amateur instrument in the United States. Most professionals (and those trained or training to be professionals) in the U.S. play CC tubas, but most also are trained in proficiency of all four pitches of tubas.

The next smaller tubas are the bass tubas, pitched in F or E-flat (a fourth above the contrabass tubas). The E-flat tuba often plays an octave above the contrabass tubas in brass bands, and the F tuba is commonly used by professional players as a solo instrument and, in America, to play higher parts in the classical repertoire. In most of Europe, the F tuba is the standard orchestral instrument, supplemented by the CC or BB-flat only when the extra weight is desired. In the United Kingdom, the E-flat is the standard orchestral tuba.

Comparison of euphonium (left) and tuba (right)

The euphonium is sometimes referred to as a tenor tuba, and is pitched one octave higher (in B-flat) than the BB-flat contrabass tuba. The term "tenor tuba" is often used more specifically, in reference to B-flat rotary-valved tubas pitched in the same octave as euphoniums. Examples include the Alexander Model 151, which is a popular instrument among tuba players when the use of the tenor tuba is appropriate. One much-debated example of such application for orchestral tuba players in the U.S. is the Bydło movement in Ravel's orchestration of Mussorgsky's Pictures at an Exhibition. The "Small French Tuba in C" is a tenor tuba pitched in C, and provided with 6 valves to make the lower notes in the orchestral repertoire possible. The French C tuba was the standard instrument in French orchestras until overtaken by F and C contrabass tubas since the Second World War. Though extremely rare, there have been larger BB-flat subcontrabass tubas created. There were at least four known examples created. The first two were built by the Gustav Besson on the suggestion of American Bandmaster John Philip Sousa. The monster instruments were not completed until just after Sousa's death (photo). Later, in the 1950s, British musician Gerard Hoffnung commissioned the London firm of Paxman to create a subcontrabass tuba for use in his comedic music festivals (photo). These three instruments were all pitched in BBB♭, one octave below the standard BB-flat tuba. Also, a tuba pitched in FFF was made in Kraslice by Bohland & Fuchs probably during 1910 or 1911 and was destined for the World Exhibition in New York in 1913. This tuba is "playable", but two persons are needed; one to operate the valves and one to blow into the mouthpiece (photo).

Valves

Tubas come in both piston and rotary valve models. Rotary valves are based on a design that derived from the Berlinerpumpen used on the very first bass tuba patented by Wilhelm Wieprecht in 1835. Červeny of Graslitz was the first to use true rotary valves, starting in the 1840s or 1850s. Piston valves are based on valves developed by Perinet for the Saxhorn family of instruments promoted by Adolphe Sax around the same time. Pistons may either be oriented to point to the top of the instrument (top-action, as pictured in the figure at the top of the article) or out the front of the instrument (front-action or side-action). Debate abounds as to the advantages and disadvantages of each piston style, with assertions concerning sound, speed, and clarity commonly proclaimed but with little or no scientific measurement. The German tradition prefers rotary valves; the British and American traditions favor piston valves^{[verification needed]} (top-action in the case of British; front-action in the case of American), but this is not absolute and choice of valve types remains up to the performer.

Some tubas have a strong and useful resonance that is not in the well known harmonic series. For example, the Conn BBb sousaphone has a strong resonance at low Bb, which permits chromatic descent to the pedal BBb. and thence to the sub pedal FF at 20 Hz. This open resonance depends on the design of the instrument. Many three valve instruments can play chromatically to 20 Hz 'F' without a fourth valve.

Tubas generally have from three to six valves, though some rare exceptions exist. Three-valve tubas are generally the least expensive and are almost exclusively used by beginners and amateurs, and the sousaphone (a marching instrument which is just a different way to wrap the tubing of a B-flat tuba) almost always has three valves. Among more advanced players, four and five valve tubas are by far the most common choices, with six valve tubas being relatively rare except for F tubas intended to be used by European orchestral performers.

The valves add tubing to the main tube of the instrument, thus lowering its fundamental pitch. The first valve lowers the pitch by a whole step (two semitones), the second valve by a semitone, and the third valve by three semitones. Used in combination, the valves are too short and the resulting pitch tends to be sharp. For example, a B♭ tuba becomes (in effect) an A♭ tuba when the first valve is depressed. The third valve is long enough to lower the pitch of a B♭ tuba by three semitones, but it is not long enough to lower the pitch of an A♭ tuba by three semitones. Thus, the first and third valves used in combination lower the pitch by something just short of five semitones, and the first three valves used in combination are nearly a quarter tone sharp.

Tuba with four rotary valves.

The fourth valve is used in place of combinations of the first and third valves, and the second and fourth used in combination are used in place of the first three valves in combination. The fourth valve can be tuned to lower the pitch of the main tube accurately by five semitones, and thus its use corrects the main problem of combinations being too sharp. By using the fourth valve by itself to replace the first and third combination, or the fourth and second valves in place of the first, second and third valve combinations, the notes requiring these fingerings are more in tune.

The fifth and sixth valves are used to provide alternative fingering possibilities to improve intonation, and are also used to reach into the low register of the instrument where all the valves will be used in combination to fill the first octave between the fundamental pitch and the next available note on the open tube. The fifth and sixth valves also give the musician the ability to trill more smoothly or to use alternative fingerings for ease of playing.

Since the bass tuba in F is pitched a fifth above the BB-flat tuba and a fourth above the CC tuba, it needs additional tubing length beyond that provided by four valves to play securely down to a low F as required in much tuba music. The fifth valve is commonly tuned to a flat whole step, so that when used with the fourth valve, it gives an in-tune low B-flat. The sixth valve is commonly tuned as a flat half step, allowing the F tuba to play low G as 1-4-5-6 and low G-flat as 1-2-4-5-6. In CC tubas with five valves, the fifth valve may be tuned as a flat whole step or as a minor third depending on the instrument.

Some piston-valved tubas have a compensating system to allow accurate tuning when using several valves in combination, simplifying fingering and removing the need to constantly adjust slide positions. Such systems are used mainly in United Kingdom brass bands.^{[citation needed]} The most common approach is to plumb the valves so that if the fourth valve is used, the air is sent back through a second set of branches in the first three valves to compensate for the combination of valves. This does have the disadvantage of making the instrument significantly more 'stuffy' or resistant to air flow when compared to a non-compensating tuba. This is due to the need for the air to flow through the valve block twice. It also makes the instrument heavier. But many prefer this approach to additional valves or to manipulation of tuning slides while playing to achieve perfect intonation within an ensemble.

Finish

Tubas are generally finished in raw brass, lacquered brass, or silver-plated brass. Some believe that the external finish of the tuba can play an important role in the tone production, though this has never been objectively measured. Performers have individual preferences on the finish that they select, and will sometimes have horns in more than one finish for different musical settings. Although tone quality is subjective and there is no scientific basis for these claims, tuba players generally agree that silver-plated brass affords a brighter tone, while raw brass produces a richer tone for lower notes.

Variations

Some tubas are capable of being converted into a marching style, known as "marching tubas". A leadpipe can be manually screwed on next to the valves. The tuba is then usually rested on the left shoulder (although some tubas allow use of the right shoulder), with the bell facing directly in front of the player. Some marching tubas are made only for marching, and cannot be converted into a concert model. Most marching bands opt for the sousaphone, an instrument which is easier to carry and almost always cheaper than a true marching tuba. Drum and bugle corps players, however, always use marching tubas, which in this context are referred to as contras. Standard tubas can also be played whilst standing, with the use of a strap which is joined to the tuba using two rings. The strap is then put over the player's shoulder like a sash, allowing the instrument to be played in the same position as when sitting.

Jazz

"Kaiserbass" (tuba in B) and cornet

Tubas have been used in jazz since the genre's beginning. In the earliest years, bands often used a tuba for outdoor playing and a double bass for indoor jobs. In this context, the tuba was sometimes called "brass bass", as opposed to the double bass, which was called "string bass"; it was not uncommon for players to double on both instruments.

In modern jazz, the role of the two bass instruments remains similar. Tubas are usually featured in a supporting role, although it is not uncommon for them to take solos. Many jazz bands actually use a sousaphone, commonly if technically incorrectly called a "tuba" in this context. New Orleans style Brass Bands like Dirty Dozen Brass Band, Rebirth Brass Band, and Nightcrawlers Brass Band feature a sousaphone as a jazz bass. One of the most prominent tubists specializing in jazz is the New York City-based Marcus Rojas, who has performed frequently with bandleader Henry Threadgill. Another notable group is the Modern Jazz Tuba Project - founded by R. Winston Morris, which consists entirely of tubas and euphoniums with rhythm section.

The tuba has also played a large role in ragtime music, and in big band music, the tuba (usually bass tuba pitched in E♭) would provide a walking bass similar to that of a double bass, but with a larger range. The tuba has the lowest pitch of the brass family.

Notable tubists

See Category:Tubists

See also

• Roman tuba
• Wagner tuba
• Euphonium
• Tubachristmas
• Contrabass Bugle
• Sousaphone

External links

• The International Tuba-Euphonium Association.
• Tuba News, a free monthly online publication for tuba and euphonium players.
• International Tuba Day
• Tubenet Sean Chisham's popular Tubenet discussion forum.
• Brass-Forum.co.uk UK based brass discussion forum.
• Brassmusic.Ru — Russian Brass Community
• The Wagner tuba
• Acoustics of Brass Instruments from Music Acoustics at the University of New South Wales.
• Tuba/Sousaphone as blues instruments
• More Thoughts on Tuba
• Official site for the annual TubaChristmas concerts in the US, Victoria BC and Switzerland

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Dansk (Danish)
n. - tuba

Nederlands (Dutch)
tuba

Français (French)
n. - (Mus) tuba

Deutsch (German)
n. - Tuba

Ελληνική (Greek)
n. - (μουσ.) τούμπα, κοντραμπάσο

Italiano (Italian)
tuba

Português (Portuguese)
n. - tuba (f) (Mús.), contrabaixo (m) (Mús.), trombone (m) (Mús.)

Русский (Russian)
туба

Español (Spanish)
n. - tuba

Svenska (Swedish)
n. - tuba (mus.)

中文（简体） (Chinese (Simplified))
低音大喇叭, 风琴音栓之一种, 大号, 簧管音栓

中文（繁體） (Chinese (Traditional))
n. - 低音大喇叭, 風琴音栓之一種, 大號, 簧管音栓

한국어 (Korean)
n. - 튜바, 튜바 음전

日本語 (Japanese)
n. - チューバ

العربيه (Arabic)
‏(الاسم) ضرب من ألأبواق, التوبه‏

עברית (Hebrew)
n. - ‮טובה (כלי-נשיפה)‬

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