Ahhh... a topic after my own heart!
I love to play the big tuba! I think that anyone who considers themselves to be a serious artist on the instrument needs to be able to communicate effectively on the Contrabass Tuba.
The level of tuba playing that exists in this country at the college/ graduate level is astounding in many ways. There are so many great players and so few jobs. I know that I have had a handful of students over the past several years that I feel have bypassed my level of accomplishment on the instrument... I'm just waiting for great things to happen for them. For each one of these students, I'm sure that there a dozen more spread out across the US.
I would like to challenge these great players to work up the following recital program on the big tuba so that they can develop and exercise their agility and musicality on the big instrument:
Strauss 1
Penderecki Cappriccio
Broughton Sonata
Vaughan Willaims Concerto
Halsey Stevens Sonatina
(Donning Flame-wear) My sense is that many players see the big horn as primarily a tool for playing huge and only huge. While this has lots of appeal for us as tuba players and we are all duly impressed by really athletic playing, I'm guessing that it may be less impressive to the bassoonist or cellist (or the conductor for that matter) on the audition committee. For those auditioning for an orchestra or a DC Band, remember that your goal is to demonstrate that you will be a great section-mate and an asset to the organization... your goal should not be to prove that you could likely annihilate the rest of the section if you felt like it.
We should all strive to make a beautiful sound every time we pick up either instrument. If you can play with a beautiful sound and turn a lovely phrase on the CC tuba, you will set yourself apart from the crowd. Trust me.
Dave "suddenly in the mood to program a big tuba recital" Zerkel
And they all played F
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Chuck Jackson
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Wow, at 45 I guess I qualify as a member of the older generation on this board.
When I was in high school and college, I was expected to do EVERYTHING on a big horn because that is what my teacher, Kevin Ladd, did. I never questioned it, just did it. I spent the most time with Jack Robinson and while he was a great F player, he did most of his playing on a 5/4 Rudy and a 3/4 Rudy. I remember having to play all the excerpts on a CC, doing the Hindemith, VW, Hartley (good call Joe, nice work), Beversdorf, Effie, the Wilder Sonata, and quintet on an Alex CC. Maybe I didn't know any better, but we didn't have the access to the stockpile of hardware that students and the young pros, have today. I was expected to succeed on what I had. I never saw an F tuba until my first summer at Brevard. Jamie Hafner had one, just because it was cheap or so he said. He played the VW with Band that summer on his Hirsbrunner, extremely well I might add.
I remember seeing Don Harry do the Bach 5th Suite on a Mirafone 186 CC( gasp, with only 4 VALVES, I guess he wasn't a pro with only 4 valves)and some toothless hack named Dave Zerkel play a Telemann Fantasia in the trombone register on an Alex CC at the TUSAB conference in 1987. I could have cared or less about what they were playing ON, they made music.
The vehicle is just that, a vehicle. If it makes it easier, so be it. And Dave is right, too many people equate a big tuba with playing mind numbingly loud, which is a necessary tool, but I wouldn't want to play the chorale in Mahler 2 on an F, soft is harder and the true test of a player/musician.
I will state my old saw once again, level the playing field and give everyone a Mirafone 186 5U and ONE mouthpiece of their choice and tell them to make music. Those who can, will, those who can't, well you know the rest.
Time to put my teeth in the glass, down some Geritol and hit the sack. I hope all the youngsters appreciate the arsenal they have at their beck and call. Maybe you should try it all on a big horn and then change the color pallette with the bass tuba.
Chuck"Thanks for the rant"Jackson
When I was in high school and college, I was expected to do EVERYTHING on a big horn because that is what my teacher, Kevin Ladd, did. I never questioned it, just did it. I spent the most time with Jack Robinson and while he was a great F player, he did most of his playing on a 5/4 Rudy and a 3/4 Rudy. I remember having to play all the excerpts on a CC, doing the Hindemith, VW, Hartley (good call Joe, nice work), Beversdorf, Effie, the Wilder Sonata, and quintet on an Alex CC. Maybe I didn't know any better, but we didn't have the access to the stockpile of hardware that students and the young pros, have today. I was expected to succeed on what I had. I never saw an F tuba until my first summer at Brevard. Jamie Hafner had one, just because it was cheap or so he said. He played the VW with Band that summer on his Hirsbrunner, extremely well I might add.
I remember seeing Don Harry do the Bach 5th Suite on a Mirafone 186 CC( gasp, with only 4 VALVES, I guess he wasn't a pro with only 4 valves)and some toothless hack named Dave Zerkel play a Telemann Fantasia in the trombone register on an Alex CC at the TUSAB conference in 1987. I could have cared or less about what they were playing ON, they made music.
The vehicle is just that, a vehicle. If it makes it easier, so be it. And Dave is right, too many people equate a big tuba with playing mind numbingly loud, which is a necessary tool, but I wouldn't want to play the chorale in Mahler 2 on an F, soft is harder and the true test of a player/musician.
I will state my old saw once again, level the playing field and give everyone a Mirafone 186 5U and ONE mouthpiece of their choice and tell them to make music. Those who can, will, those who can't, well you know the rest.
Time to put my teeth in the glass, down some Geritol and hit the sack. I hope all the youngsters appreciate the arsenal they have at their beck and call. Maybe you should try it all on a big horn and then change the color pallette with the bass tuba.
Chuck"Thanks for the rant"Jackson
I drank WHAT?!!-Socrates
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Tom Holtz
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Interesting thread. Nice stuff, gang.
From a composer's/arranger's standpoint, it's hard enough to write for bass tuba, much less contrabass. Trying to score harmonies and accompaniment around a solo voice so low is a real challenge. I'm certainly no composer, but I run into this problem all the time. As an arranger, I've been cranking out quintet charts for work recently, and I don't give myself the melody too often. Thirds, sixths, and sevenths at the bottom of the chord don't usually sound so good, and putting the bone player below that stuff as the bass voice makes their part a real workout. Inevitably, the tuba part climbs higher and higher to get the melody into a register more conducive to the scoring.
Another variation on this problem happens when arranging-on-the-fly while playing jazz. Try playing a bass line for a bone player who's staying in the staff, or a bari sax player. Uh-oh, you've got no room to work with, and you head to the basement to stay out of the soloist's way. I hear the same thing from the bass players when I'm the soloist, stuff like, "Man, it's hard to not walk all over your stuff. I have to be careful." Pity the composer who is trying to figure out what to do with the celli and basses when he's cut the tuba player some slack by keeping the solo part in the staff.
From a performer's standpoint, it's no surprise that you see more soloists on the smaller horns. You get the benefit of a higher tessitura to help handle the high notes, and a more colorful sound with which to express yourself. Not many players are trying for that with their big horn. They're looking for the darkest sound with the most fundamental and the least of everything else. That's a great sound for a big ensemble, but it's boring for solos.
Oh yes, it's boring; and don't say, "Well, Arnold Jacobs did everything on his big York, so nyah nyah nyah!" No doubt there was a ton of fundamental there, but that man had a sound jammed full of overtones, so rich, vibrant, full, and powerful, that he could do this stuff on the big York. There's never been another like him, and we forget that, and I think we lose sight of what made him so special. It wasn't the horn. The soloists I've heard and thought, "I wish I could do that," weren't playing York CC tubas, either.
As such, it's a shame that there isn't more serious literature for the big horns, in their meat-and-potatoes register, but that is the case for all the bass instruments in every category, and tubas in particular. Rick Denney nailed it; a composer is not going to write for tuba unless the tuba players ask (and likely pay up front) for him/her to do so. If I had the brainpower and the inspiration to compose a three- or four- movement work for solo contrabass tuba that didn't ask for notes above the staff or sick multiple-tonguing skills, and didn't bore everyone to tears, I'd have gotten to work on it long, long ago. Truth be told, I doubt I'll see that piece of music in my lifetime.
From a composer's/arranger's standpoint, it's hard enough to write for bass tuba, much less contrabass. Trying to score harmonies and accompaniment around a solo voice so low is a real challenge. I'm certainly no composer, but I run into this problem all the time. As an arranger, I've been cranking out quintet charts for work recently, and I don't give myself the melody too often. Thirds, sixths, and sevenths at the bottom of the chord don't usually sound so good, and putting the bone player below that stuff as the bass voice makes their part a real workout. Inevitably, the tuba part climbs higher and higher to get the melody into a register more conducive to the scoring.
Another variation on this problem happens when arranging-on-the-fly while playing jazz. Try playing a bass line for a bone player who's staying in the staff, or a bari sax player. Uh-oh, you've got no room to work with, and you head to the basement to stay out of the soloist's way. I hear the same thing from the bass players when I'm the soloist, stuff like, "Man, it's hard to not walk all over your stuff. I have to be careful." Pity the composer who is trying to figure out what to do with the celli and basses when he's cut the tuba player some slack by keeping the solo part in the staff.
From a performer's standpoint, it's no surprise that you see more soloists on the smaller horns. You get the benefit of a higher tessitura to help handle the high notes, and a more colorful sound with which to express yourself. Not many players are trying for that with their big horn. They're looking for the darkest sound with the most fundamental and the least of everything else. That's a great sound for a big ensemble, but it's boring for solos.
Oh yes, it's boring; and don't say, "Well, Arnold Jacobs did everything on his big York, so nyah nyah nyah!" No doubt there was a ton of fundamental there, but that man had a sound jammed full of overtones, so rich, vibrant, full, and powerful, that he could do this stuff on the big York. There's never been another like him, and we forget that, and I think we lose sight of what made him so special. It wasn't the horn. The soloists I've heard and thought, "I wish I could do that," weren't playing York CC tubas, either.
As such, it's a shame that there isn't more serious literature for the big horns, in their meat-and-potatoes register, but that is the case for all the bass instruments in every category, and tubas in particular. Rick Denney nailed it; a composer is not going to write for tuba unless the tuba players ask (and likely pay up front) for him/her to do so. If I had the brainpower and the inspiration to compose a three- or four- movement work for solo contrabass tuba that didn't ask for notes above the staff or sick multiple-tonguing skills, and didn't bore everyone to tears, I'd have gotten to work on it long, long ago. Truth be told, I doubt I'll see that piece of music in my lifetime.
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MikeMason
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Stefan Kac
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So many random thoughts have occurred to me since I started reading this thread. Take what you want and flame the rest I guess...
•Potential survey topic: is it generally easier to play high on contrabass or low on bass?
•Has anyone else played Stephen Rush's Tuba Sonata? It's a very nice piece for tuba and piano that could be played on either horn and is not insanely challenging (some tricky breathing though)
•Seems to me that, as a group, tuba players must have about the most conservative musical tas te I've encountered, excluding only singers and the great unwashed themselves. And if I had a dime for every time someone on this site mentions pleasing a broad audience as an essential quality of a piece or performer... Someone even said it should be a part of competition judging at ITEC, etc. That's fine and dandy, but realize you are asking a lot already saying you want a piece that stays in the staff and will be, oh yeah, fulfilling to perform as well. Tom Holtz is spot on: it is (not impossible, but) very difficult to write contra-melodies in the context of 18th-19th century functional harmony. Easy for me to say because I dig modern music and even the avant-garde, but there is so much to be explored in these areas that most tubists won't touch, and that's really too bad. Sad as it is that Bach never heard a tuba, we ought to be concerned with securing a place in the musical future before securing one in the past. If nothing else, there's more to do, and you'll never get bored, unless it's "just a bunch of squeaking and farting" to you.
•We freely steal/adapt/arrange/derange music from other instruments, but take a note in the VW second movement down an octave? Heresy!!! I also always think of Kellaway's "Morning song". There's only one note in it that I can't play (super high Bb), but that's enough to not want to attempt it in public. Maybe we should rethink this? It's not like we're talking about the great masterpieces of Western music. (if only we were)
•I would love to write one of these magical/accessable/fulfilling/low pieces for someone. But you would probably even have to pay me, too, because I am just sick of writing tuba music (just finished Concerto No. 1: 3 and 1/3 octave range from ped. Eb to G above middle C, and no apologies forthco ming...) And if you've never prepared a 100 page orchestral score and 20-some parts, I can tell you that it gets BORING and TEDIOUS!!! I can't even imagine doing this before computer notation software, or even with the earlier versions. It's no wonder you have to pay to get something written. Somebody call Sy Brandon....
•Potential survey topic: is it generally easier to play high on contrabass or low on bass?
•Has anyone else played Stephen Rush's Tuba Sonata? It's a very nice piece for tuba and piano that could be played on either horn and is not insanely challenging (some tricky breathing though)
•Seems to me that, as a group, tuba players must have about the most conservative musical tas te I've encountered, excluding only singers and the great unwashed themselves. And if I had a dime for every time someone on this site mentions pleasing a broad audience as an essential quality of a piece or performer... Someone even said it should be a part of competition judging at ITEC, etc. That's fine and dandy, but realize you are asking a lot already saying you want a piece that stays in the staff and will be, oh yeah, fulfilling to perform as well. Tom Holtz is spot on: it is (not impossible, but) very difficult to write contra-melodies in the context of 18th-19th century functional harmony. Easy for me to say because I dig modern music and even the avant-garde, but there is so much to be explored in these areas that most tubists won't touch, and that's really too bad. Sad as it is that Bach never heard a tuba, we ought to be concerned with securing a place in the musical future before securing one in the past. If nothing else, there's more to do, and you'll never get bored, unless it's "just a bunch of squeaking and farting" to you.
•We freely steal/adapt/arrange/derange music from other instruments, but take a note in the VW second movement down an octave? Heresy!!! I also always think of Kellaway's "Morning song". There's only one note in it that I can't play (super high Bb), but that's enough to not want to attempt it in public. Maybe we should rethink this? It's not like we're talking about the great masterpieces of Western music. (if only we were)
•I would love to write one of these magical/accessable/fulfilling/low pieces for someone. But you would probably even have to pay me, too, because I am just sick of writing tuba music (just finished Concerto No. 1: 3 and 1/3 octave range from ped. Eb to G above middle C, and no apologies forthco ming...) And if you've never prepared a 100 page orchestral score and 20-some parts, I can tell you that it gets BORING and TEDIOUS!!! I can't even imagine doing this before computer notation software, or even with the earlier versions. It's no wonder you have to pay to get something written. Somebody call Sy Brandon....
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Lew
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Stefan Kac wrote: ...Easy for me to say because I dig modern music and even the avant-garde, but there is so much to be explored in these areas that most tubists won't touch, and that's really too bad. ....
You mean like this stuff?
http://artofthestates.org/cgi-bin/piece.pl?pid=226
(Disclaimer, this was written by my brother)
I really have trouble following this type of music. I could ask him to write a piece that includes solo tuba, and he would probably be happy to write it in the contra range. Would you play it?
Besson 983
Henry Distin 1897 BBb tuba
Henry Distin 1898 BBb Helicon
Eastman EBB226
Henry Distin 1897 BBb tuba
Henry Distin 1898 BBb Helicon
Eastman EBB226
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ThomasDodd
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I vote for the helicon.bloke wrote:I'm making a special point to play the Hartley Sonata (seemingly rarely played, though Zerkel's great recording might spark some interest) on contrabass tuba in a recital at a not-Oktuba-but-November-tuba thing...
...either on a Gronitz PCK or on "the" helicon...
Any details on the performance yet? I know, it's a full month away, but I'd love to drive up for it.
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T. J. Ricer
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This was something that a couple of us at the BG tubafest noticed and talked about. John did the VW Folk Songs on his big CC and I did the "Effie Suite" on mine, but that was it for big horn solos (Phillip Black brought his giant Rudy for "Ludas"). (Didn't Harvey Phillips originally do Effie on CC anyway?)
Couple of thoughts about this. . . Most of the artists were traveling large distances, many flying. This may have been part of the decision, both in terms of "Which horn can I do all my lit on?" and "Which horn is going to be less of a pain in the butt to get on the plane." I was pleased to see as many Eb tubas as I did, I've never been an F fan, but that's just my taste.
That being said, I just like to play the big horn. . .
Congrats to Tim for pulling the conference off and to all the players, it really was a great weekend of tuba-geeking. . . It is a humbling experience to see just how many great players are out there (and that includes Tim's students who played on the masterclasses).
--T. J.
Couple of thoughts about this. . . Most of the artists were traveling large distances, many flying. This may have been part of the decision, both in terms of "Which horn can I do all my lit on?" and "Which horn is going to be less of a pain in the butt to get on the plane." I was pleased to see as many Eb tubas as I did, I've never been an F fan, but that's just my taste.
That being said, I just like to play the big horn. . .
Congrats to Tim for pulling the conference off and to all the players, it really was a great weekend of tuba-geeking. . . It is a humbling experience to see just how many great players are out there (and that includes Tim's students who played on the masterclasses).
--T. J.
Thomas J. Ricer, DMA
Royal Hawaiian Band - University of Hawaii at Manoa - Yamaha Performing Artist
http://www.TJRicer.com
"Life is what happens to you while you're busy making other plans." -John Lennon
Royal Hawaiian Band - University of Hawaii at Manoa - Yamaha Performing Artist
http://www.TJRicer.com
"Life is what happens to you while you're busy making other plans." -John Lennon
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Tom Holtz
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I got myself a Besson 983 Eb for just that very reason. The physical dimensions aren't much smaller than my HB-2P, but it's several pounds lighter, and it gathers less attention at the check-in counter. It's under the weight limit. Ding ding, we have a winner.T. J. Ricer wrote:Couple of thoughts about this. . . Most of the artists were traveling large distances, many flying. This may have been part of the decision, both in terms of "Which horn can I do all my lit on?" and "Which horn is going to be less of a pain in the butt to get on the plane."
For my tastes, I'd enjoy the bigger sound the 983 gives me over that of my F, but if the solo in question is easier on the F, then that would be the horn I'd use. I wish I was man enough to knock down the big solos on the big horn, but that ain't the case.
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Tim Olt
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I'm going to throw my two-cents worth in at this point. First, many thanks to Sam for his wonderful display (now Don Harry is a convert to the Gnageyphone!). Also, both TJ and John played beautifully on their CCs! Although he is way to modest to ever say it, TJ belongs on that list he mentioned of fantastic players. Look for his name to start showing up more at big events! Same is true for John.
All that being said, CC is definitely not dead as a solo instrument. I know that the majority of my studio use CC almost exclusively and with wonderful results. One of my freshmen performed the Arnold Fantasy on CC last year with no problems whatsoever. I myself used CC exclusively for the majority of my career, only purchasing an F as of a few years ago. I was taught (thank you Sam Green) that it was best to learn how to play on one instrument to start, and not use another until you had worked out all the problems and abilities you needed on the one. I then got an F both to make my life a little easier and also for portability. I still rely on my CC for the majority of my playing. I teach my students to stay with the one instrument until they reach the point that they know the instrument is holding them back, and then they can investigate other keys. This is not to slam anyone who does otherwise, it is just one way of approaching things. That being said, I did use my F for my recital, but mainly to keep everything on one horn. I have never liked swapping between the two if I can help it.
Ok, more like ten cents worth. You can keep the change.
Tim
All that being said, CC is definitely not dead as a solo instrument. I know that the majority of my studio use CC almost exclusively and with wonderful results. One of my freshmen performed the Arnold Fantasy on CC last year with no problems whatsoever. I myself used CC exclusively for the majority of my career, only purchasing an F as of a few years ago. I was taught (thank you Sam Green) that it was best to learn how to play on one instrument to start, and not use another until you had worked out all the problems and abilities you needed on the one. I then got an F both to make my life a little easier and also for portability. I still rely on my CC for the majority of my playing. I teach my students to stay with the one instrument until they reach the point that they know the instrument is holding them back, and then they can investigate other keys. This is not to slam anyone who does otherwise, it is just one way of approaching things. That being said, I did use my F for my recital, but mainly to keep everything on one horn. I have never liked swapping between the two if I can help it.
Ok, more like ten cents worth. You can keep the change.
Tim
Tim Olt
Composer/Arranger
Composer/Arranger
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james
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hi
Of course I prefer F tuba for solo stuff simply because of the acoustics of most solo recital halls....very small and "live". CC Tuba in a small rectial hall can sound like giving an F Tuba recital in a practice room. In a small hall a big horn can sound a little muddy no matter who the player is. In a big hall, it really shouldn't matter very much if at all. That being said, great players find a way to make it work. As Bloke said, the goal is music and they're there to make it.
For working on expression and clarity on a big horn I like Gregory Fritz 20 Characteristic Etudes played on CC tuba and Jim Self's Duets for Tuba on CC as well. These seemed to be great tools(showed to me by Dave Zerkel) to work on the idea of being musical and flexible on the big horn. If you ever have a lesson with Dave, I highly advise talking him into playing a Jim Self Duet with you. It's quite humbling after a lesson including excuses of how "this is easier on my F tuba" or "these valves slow me down".
Al Baer takes the idea from a different angle. He believes in playing CC tuba stuff on F tuba (since F seems to be our natural axe for expression) and then transfering the same ideas and clarity to the big horn. Recording ones self would be a good idea for this exercise. Great approach in my mind as it also seems to help low chops on the small horn :D
For working on expression and clarity on a big horn I like Gregory Fritz 20 Characteristic Etudes played on CC tuba and Jim Self's Duets for Tuba on CC as well. These seemed to be great tools(showed to me by Dave Zerkel) to work on the idea of being musical and flexible on the big horn. If you ever have a lesson with Dave, I highly advise talking him into playing a Jim Self Duet with you. It's quite humbling after a lesson including excuses of how "this is easier on my F tuba" or "these valves slow me down".
Al Baer takes the idea from a different angle. He believes in playing CC tuba stuff on F tuba (since F seems to be our natural axe for expression) and then transfering the same ideas and clarity to the big horn. Recording ones self would be a good idea for this exercise. Great approach in my mind as it also seems to help low chops on the small horn :D
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Shockwave
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For anyone who hasn't heard J.D. Sumner sing, here's an audio clip:ThomasDodd wrote:
And J.D. Sumner, of the Stamps (Gospel and backup group for Elvis in the 70's). He's my kind of singer too:Why not write tuba solos like that?wikipedia.org wrote: In 1983, the Guinness Book Of World Records recognized Sumner's 1966 solo recording of the hymn "Blessed Assurance." According to Guinness, the song contained the lowest recorded note ever produced by a human voice, a "double low" C.
http://members.aol.com/wbamb83392/jdsumner.mp3
-Eric
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ThomasDodd
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Yeah, He did. A vary sad day when he left us. But we still have his msic.Doc wrote:I love it! He must have brass balls that drag the ground.Shockwave wrote: For anyone who hasn't heard J.D. Sumner sing, here's an audio clip:
http://members.aol.com/wbamb83392/jdsumner.mp3
Listen to the elvis stuff from the 71-77 when the Stamps did backup, particurally the gospel.
And Elvis liked to have them sing in his live shows, while Elvis just watched from the side.
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Sam Gnagey
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Just a note of clarification:
I, in no way, mean to chastise anyone for their choice of instrument to perform solos. My main point in starting this thread was to call attention to the need for new compositions that make good use of the strengths of the contrabass tubas. I realize that all the solo literature out there can be performed on a CC or BBb tuba and done well at that. The fact is that much of what is being written for tuba solo is aimed at the bass tuba.
We see that the contrabass vocal range can be pleasing and expressive. Let's have some new compositions that call for that from the contrabass tuba.
A question along those lines: Has anyone put piano accompaniment to the Snedecor Low Etudes for Tuba? Those studies emphasize the range that I'm referring to.
I, in no way, mean to chastise anyone for their choice of instrument to perform solos. My main point in starting this thread was to call attention to the need for new compositions that make good use of the strengths of the contrabass tubas. I realize that all the solo literature out there can be performed on a CC or BBb tuba and done well at that. The fact is that much of what is being written for tuba solo is aimed at the bass tuba.
We see that the contrabass vocal range can be pleasing and expressive. Let's have some new compositions that call for that from the contrabass tuba.
A question along those lines: Has anyone put piano accompaniment to the Snedecor Low Etudes for Tuba? Those studies emphasize the range that I'm referring to.
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Philip Jensen
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I was listening to a local jazz combo on Friday and since the CC vs F debate was going on I listened to the electric bass solos with that in mind and he was playing mostly high stuff for the solos. Then I thought back to other jazz bass solos I've seen/heard of the years (electric and upright) and, yes most of the solos were played in their upper range too. You'd almost think we're (and the bassists) a bunch of trumpet players, trying to impress people with how high we can play. If the players are VERY good, it works, often times however, I sit there wishing it were being played down an octave.
I too wish there were more solos suitable to the contrabass tuba and something a dedicated amatuer could play.
Philip
I too wish there were more solos suitable to the contrabass tuba and something a dedicated amatuer could play.
Philip
Miraphone Norwegian Star Eb
King 4V BBb ~1913
Holton 4V Eb 1920
Holton 3V Eb 1930
King 4V BBb ~1913
Holton 4V Eb 1920
Holton 3V Eb 1930
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Tom Holtz
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When I take a solo, I usually head for the upper register, too. My upper register stinks, there's no Sheridan/Pilafian high notes available, not by a long shot, but I still go up more often than down. Why? Well, because it's more like what I'm accustomed to hearing. I listen to trumpet and trombone players taking solos, and those are the registers my ear leads me towards naturally. I try not to stay up there, it's too much work, but that's what happens.Philip Jensen wrote:I listened to the electric bass solos with that in mind and he was playing mostly high stuff for the solos.
I did say usually, because there are times I deliberately head for the basement, and the audience often gets a real charge out of that. I then hit some of the issues we've talked about already on this thread; it's more difficult to keep the clarity consistent when I'm digging down deep, and the harmonic content of some notes isn't really clear, and can become misleading, when I'm playing in the basement. More reasons I do most of my improv in the upper register.
Absolutely correct. We don't hear low register solo playing, so we don't have anything to emulate. Some real low register solo repertoire would be great, if anyone could craft such compositions. Such a composition is a longshot, IMHO.Sam Gnagey wrote:My main point in starting this thread was to call attention to the need for new compositions that make good use of the strengths of the contrabass tubas. I realize that all the solo literature out there can be performed on a CC or BBb tuba and done well at that. The fact is that much of what is being written for tuba solo is aimed at the bass tuba.
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Steve Inman
- 4 valves
- Posts: 804
- Joined: Fri Mar 19, 2004 11:48 am
Sam -- here's a new composition for those playing at advanced high school or college level. All in or below the staff, ranging from low F to B at the top of the staff. The range is typical quintet range. I believe Melissa Williams at Butler University (Indianapolis) has played through the piece so she could probably provide you with an opinion on it. Might be appropriate for some folks to try.
Visit Tap Music ( www.tapmusic.com )
11.Tuba & Piano -- Elegy for Eric Anasco
Dedicated to a former student, the solo is divided into these parts: elegy theme (sense of loss)... spiritual growth... personality-humor... college life... spiritual struggle... physical death... harmony with God. College level.
Catalog: TUEL01 Composer/Arranger: Britton, David
$10.00 USD
https://asp2.secure-shopping.com/tapmus ... &path=S,05
Regards,
Visit Tap Music ( www.tapmusic.com )
11.Tuba & Piano -- Elegy for Eric Anasco
Dedicated to a former student, the solo is divided into these parts: elegy theme (sense of loss)... spiritual growth... personality-humor... college life... spiritual struggle... physical death... harmony with God. College level.
Catalog: TUEL01 Composer/Arranger: Britton, David
$10.00 USD
https://asp2.secure-shopping.com/tapmus ... &path=S,05
Regards,
Steve Inman
Yamaha YEB-381 Eb
Conn 56J CC
Willson-Marzan CC Solo Model
Kokomo Chamber Brass
Yamaha YEB-381 Eb
Conn 56J CC
Willson-Marzan CC Solo Model
Kokomo Chamber Brass
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Steve Marcus
- pro musician
- Posts: 1843
- Joined: Fri Mar 19, 2004 12:18 am
- Location: Chicago area
- Contact:
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tubatooter1940
- 6 valves
- Posts: 2530
- Joined: Mon Mar 22, 2004 11:09 pm
- Location: alabama gulf coast
I stumbled into a lucky situation when I befriended a low tenor singer/guitarist and accompanied him with an Eb tuba I bought for ten bucks. I used my comfortable low range for bass lines and my comfortable high range over the vocal line for solos.
After playing contrabass tuba thru college and 30 years on trumpet and bone, an Eb tuba served very well. I notice that low improv has to be slower due to the slow lip vibrations but not so bad as the bottom of contra range. I tried at first to play all solos in the high range but soon abandoned that for any range that made the horn sound it's best and whichever was the most fun to play.
Lucky boy!
tubatooter1940
www.johnreno.com/
After playing contrabass tuba thru college and 30 years on trumpet and bone, an Eb tuba served very well. I notice that low improv has to be slower due to the slow lip vibrations but not so bad as the bottom of contra range. I tried at first to play all solos in the high range but soon abandoned that for any range that made the horn sound it's best and whichever was the most fun to play.
Lucky boy!
tubatooter1940
www.johnreno.com/