When I first learned about the Jimmy Stamp routines back in 1977 it was from a Stamp student, John Taber (principal in Rotterdam Phil.). He gave me a copy of Stamps manuscript (I still have it). The exercise I fell in love with was the one that became No. 6 in the BIM edition (a new revised edition will come soon).

Recently I told you about Roger Bobo's great  "Stamp Modification 2" (page 36 - 39 in his book "Mastering the Tuba") of this Stamp "Exercise No. 6".

Well, I have expanded it a bit further and I'll try to explain how. We could maybe call it "Stamp No. 6 a'la Gordon/Bobo"

The nice thing with Claude Gordon and James Stamp is that they use pedals as (like Rune call it) "..an embouchure strengthening exercise." and might I add "as an embouchure building exercise".

(Jack Kanstul - you must correct me here, being a student of both Gordon & Stamp):

All TPIN'er who know Stamp No. 6 know that it consists of two different pattern. "Pattern A" is where you start, and in Stamp/Bobo this is the first exercise starting on a low G and going up to a D (G-B-A-C --D) and then resting for 3 count on that D then repeating C-D-C and then down (D-C-B-A) and then repeating this pattern without the fermata second time.
Then it continues with a new second part going up and then resting on some of the notes (3 count)  (G-A(rest)-B-C(rest)-D-E(rest)) then revolving on some notes and ending on the staring note (low G). All notes are 8-notes.
This "pattern A" is a 6 note range pattern.

Stamp/Bobo then starts on a low A and goes up to F (or F-sharp if played in the key of G)
Then start on low B goes up to G.
Then start on low C and goes to A.
Then start on low D and goes to B.

When reaching low D. Stamps starts his next "pattern B" (my name of it). Now he again start on low G and do the same as in "pattern A" (without repeat) and moves to second part of this "pattern B" where he plays a scale from low G and one octave up and resting (3 count) on A - then repeat G-A and then down to low G. This is repeated without resting second time on the A.

From here Stamp alternates between "pattern A" and "pattern B". As "pattern A" gets higher you get to rest (and visit low notes) on  "pattern B".
Bobo has extended this so that for every 5th "pattern B" he appends the low part (always starting from low G). When Bobo in his last page reaches G above high C on "pattern A" he is playing a scale of several octaves on "pattern B".

***Pooh*** - difficult to explain (get Bobo's great book!).

Well - my addition to this is to start on pedal G (one octave down from low G). I play that low pedal G with open fingering (not 1-3) and it is an easy note to get. But remember to close the lips (this is not for relaxing purpose)!!

The hard notes are pedal A, pedal B and pedal C. Pedal D to pedal F is easy (at least for me). I then play F# (F sharp) with valve 2 (not 1-2-3) and low G with 0 (not 1-3). "Quasi pedals" we could call them (learned from Clyde Hunt).

What I focus on is to play with very closed lips on these pedals and keep that embouchure (more puckered) when ascending into the normal register. Or as Stamps says "stay up when going down" and vice versa. This is crucial to let the added pedal range mean anything (IMO) and is what Gordon teaches: See his figure illustrating the face muscles (the ring with mpc.) with arrows pointing inwards.

If you get a loud fat pedal C it's a clue that you do it right.

Well when you get to G above high C (or higher) you have a great range on this "B pattern". When I then finally stop, I try to take the ending down one octave to double-pedal G which add another octave. (I'm seeing the "seven seas" in the horizon)

I do this extension of Stamp #6 only every 3 days (a'la Eddie Lewis and Ron Lawrence)

So here is my use of Stamp No. 6:
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Big day:
Play from pedal G and as high as possible (takes time) - I rest as long as I play. 3 attempt on highest note (a'la Gordon) then stop.

Medium day:
Play in comfort zone - focus on playing slowly and developing breath control. No pedals.

Small day:
Play in a limited register ("best sound" register) and do different scales. (All major/minor + whole and dim.) I try to think of the pattern (or parts of it) as sequenze in a concerto (you can hear bits of Haydn or Hummel in it). Can be played with very free rhytm.

Ole