Since the time of Johann Sebastian Bach many musical compositions have been written on the letters of his last name. In German musical notation, these letters are the equivalents of out B flat, A, C, and B natural. This study traces the use of this motive in works written for the organ throughout the past two centuries. The discussion in these chapters has been an attempt to illustrate the use of the motive B A C H in organ compositions from before the time of Bach up to the present. Time limitations required that this study limit itself to those works appearing in generally available editions.

The two basic needs which motivated this study were instructional material and instruments. By investigating these problems the writer hopes to improve not only his own techniques of teaching, but to present a useful source of information concerning the tuba. Analysis of the problem statement led to subordinate questions, or sub-problems, which may be stated as follows: 1. What do the authorities consider to be the desirable physical and mental characteristics in the tuba player? 2. How do the authorities teach the specific techniques of tuba performance. 3. What are the authorities' opinions concerning tubas and tuba mouthpieces? 4. What are the authorities' recommendations concerning instructional materials for tuba students?