But as they have a large mouthpiece, and require a very loose embouchure, more can be done towards correcting harmonic imperfections of the scale by the player than in acuter instruments of the same character. Tubas are made in many keys, in F in Germany, in E♭ and B♭ in this country: as however they usually read from the real notes, their parts require no special transposition. Their introduction into the stringed orchestra is entirely due to later composers, and pre-eminently to Wagner, who often obtains fine effects through their instrumentality.
TUBA, TUBA MIRABILIS, or TUBA MAJOR, TROMBA, OPHICLEIDE, are names given to a high-pressure reed-stop of 8 ft. pitch on an organ. In some instruments, especially if there are only three manuals, such high-pressure reeds are connected with the Great Organ manual; but inasmuch as the pipes are of necessity placed on a separate soundboard supplied by a different bellows to that which supplies the ordinary flue-work, high-pressure reeds are more often found on the fourth or Solo Organ. The pipes of the Tuba are sometimes arranged in a horizontal position, but whether arranged horizontally or vertically, they are, as a rule, placed high up in the framework of the instrument. The wind-pressure of a Tuba, as measured by an ordinary wind-gauge, varies considerably; in some cases it does not exceed 7 inches, but in St. Paul's Cathedral the pressure reaches 17½ inches, and in the Albert Hall 23 inches or more. The pipes are of 'large scale,' and the tongues of the reeds are, of course, thicker than in the common Trumpet-stop. The Tuba is not solely used as a Solo stop; on large instruments, when coupled to the full Great Organ, it produces a most brilliant effect.
TUBBS, James, a violin-bow maker, residing in Wardour Street, London. His father and grandfather followed the same occupation, their style being founded on that of Dodd, whose work that of the present Mr. Tubbs also resembles. The Tubbs bows, though not equal to those of the best French makers, are esteemed by many players for their lightness and handiness.
TUCKER, Rev. William, was admitted priest and gentleman of the Chapel Royal and minor canon and precentor of Westminster Abbey in 1660. He composed some excellent church music, some of which is still extant. An anthem, 'O give thanks,' is printed in Page's 'Harmonia Sacra,' and is also included (with another) in the Tudway Collection (Harl. MS. 7339). A 'Benedicite' is in MS. in the library of the Royal College of Music, and a service and 6 anthems at Ely Cathedral. He appears also to have been copyist at the Chapel Royal. He died Feb. 28, 1678–9, and was buried March 1, in Westminster Abbey cloisters.
TUCKERMAN, Samuel Parkman, Mus.D., born at Boston, Mass., U.S., Feb. 17 [App. p.804 "Feb. 11"], 1819. At an early age he received instruction in church music and organ-playing from Charles Zeuner. From 1840, and for some years after, he was organist and director of the choir in St. Paul's Church, Boston, and during that time published two collections of Hymn Tunes and Anthems, 'The Episcopal Harp' (chiefly original compositions) and 'The National Lyre,' the latter with S. A. Bancroft, and Henry K. Oliver. In 1849 he went to England, to make himself thoroughly acquainted with the English cathedral school of church music, both ancient and modern. For the first two years he pursued his studies in London, and afterwards resided in Canterbury, York, Durham, Winchester and Salisbury, in each of them devoting himself to his favourite study. For about two years Dr. Tuckerman lived at Windsor, and enjoyed the advantage of daily attendance at the services in St. George's Chapel. In 1853 he took the Lambeth degree of Doctor of Music, and then returned to the United States, and resumed his connection with St. Paul's Church in his native city. He lectured upon 'Church Music in the Old World and the New,' and gave several public performances of cathedral and church music from the 4th to the 19th century. In 1856 he returned to England, and remained four years. During this interval he made large additions to his musical library, which at present contains about 2000 volumes, many of them rare and valuable works. It includes many full scores and a large and valuable collection of motets, anthems, and services, both ancient and modern, of the Italian and English schools.
Dr. Tuckerman's compositions will be found in Novello's catalogues. They comprise several services, a festival anthem, 'I was glad,' six short anthems, and the anthem (or cantata) 'I looked and behold a door was opened in heaven,' the latter written (though not required) as an exercise for his Doctor's degree. He also compiled and edited 'Cathedral Chants' for use in the choirs of the Episcopal Church, in the United States. This work, published in 1858, has had a large circulation. In 1864 he edited the 'Trinity Collection of Church Music,' consisting of hymn tunes, selected, arranged, and composed for the choir of Trinity Church, New York, by Edward Hodges, Mus. Doc., formerly of Bristol, adding to it many of his own compositions. His MS. works contain a Burial Service, two anthems, 'Hear my prayer,' and 'Blow ye the trumpet in Zion,' carols, chants and part-songs. In 1852 he received a diploma from The Academy of St. Cecilia, Rome. [App. p.804 "Add that he succeeded Dr. Hodges as Organist of Trinity Church, New York."]
TUCKET, TUCK. Tucket is the name of a trumpet[1] sound, of frequent occurrence in the works of the Elizabethan dramatists. Shakespere (Henry V, Act iv, Sc. 2) has, 'Then let the trumpets sound The tucket-sonance, and the note to mount'; and in 'The Devil's Law Case' (1623) is a stage direction, 'Two tuckets by several trumpets.' The word is clearly derived from the
- ↑ Johnson says 'a musical Instrument', but this is inaccurate.
