Is F tuba really a necessity for Grad school?

[J.c. Sherman]

When I went back to college in my 30's with 1 then 2 kids I was able to purchase or upgrade instruments as necessary throughout those 3.5 years. They were not new, and they may have had "quirks" but they were "professional quality". I also rode my bicycle most places and the only eating out that happened was when the local pizza place had a 1 topping pizza for $5 takeout on Tuesday night. My then wife and I lived very frugally in student housing, but we had everything we needed.
I was frustrated seeing other students who drove new cars and went out for $7 lunches every day but complained they didn't have the money for a metronome or tuner week after week.
As my former executive director used to say, "priorities"

Yes.

[tusabtuba]

At one time, we were a one-tuba world; i.e. Herb Wekselblatt, Joe Novotny, Harvery Phillips, Arnold Jacobs, to name a few. Yes Joe and Arnold had an F tuba, but it hardly saw the light of day. Only when you got a job did an F tuba enter the picture. If you can play well on your CC or BB-flat, having an extra tuba doesn't matter. I think schools who emphasize the F will have at least one for the students to pass around. Long ago, you normally took one tuba -- probably the only one you owned -- to an audition and lived or died by what came out of the bell.

Tusabtuba

[Untersatz]

Just out of curiosity, what year are you in college and have you taken any writing or English courses in the past year?

Ya, do as Ian Sez, NOT as he duz

Try a gold played Monette mouthpiece

[smitwill1]

I went to UNM in the late '80s and played in the New Mexico Brass Quintet. Auditioned and was accepted playing a Miraphone 185 CC. But, when I showed up they immediately wanted me on an F. Nice F--a B&S Symphonic model. We had some early fall concerts with some challenging literature, so I really didn't want to make the switch so abruptly, so I agreed to make the switch (but didn't say when I'd do it...). After the first few rehearsals and concert I was congratulated by my colleagues (including my major prof) on my sound, intonation, and balance on the F...only, it wasn't the F that I played, but my 185 using a PT-9 (new PT-64) to brighten up my sound a bit.

Long story short--they weren't happy about being "duped*", but did acknowledge that it is the sound not the horn that matters. I eventually took to the F and use one regularly in quintet, my local community symphony, and for teaching. Schools may be more demanding now that more undergraduates have experience on F, but I'll "+1" the previous suggestions: 1) focus on growing your skills on your existing equipment, 2) if asked, be open about your willingness to acquire and learn either F or Eb, and 3) be disciplined about saving up for a bass tuba.

*For the record, the striking difference in the 5th valve loop alone is a dead give-away. I suggest that either they recognized that I was stressed about the gig, gave me some slack, and were trying to see if I'd "fess up", or they were concentrating on their own parts and had no time (or reason) to look at the horn that I was using.

[Untersatz]

Anyone (other than the tuba players themselves) who is trying to tell a tuba player (particularly who they admit is doing a outstanding job) about "what type of instrument they should be using" is being anal...

Right on Joe!!! We know what equipment we need!!!

giant_tuba.jpg

[tbn.al]

How unfortunate it is that in the top 100 jobs that bloke referenced there are NO jobs that even hint at music or the arts. Well grant manager might sneak in the back door. A telling commentary on our society, yes? It is what it is. Find a way to eat and find a way to make music. It would be wonderful if a job could do both, but most of the time it can't, no matter which tubas you own. Base your decision on what you think your tuba need is, not what someone tells you it is.

[Slamson]

Oy! Bloke has brought it straight out!

Where I got my master's, people going for their DMA's were referred to as "Didn't Make the Audition" because anybody with great chops and a lot of work could get a gig (playing or college teaching) just by being, well, good. Then all of a sudden universities started to get anal about it and wouldn't hire anybody unless they had a "DMA" after their name (or as in my case and lots of others, a "Ph.D") So every year there are dozens of DMAs going out there looking for a handful of jobs.

Back to the F question:
Play the snot out of your BB-flat or CC and any school will welcome you with open arms. If you're that good, they'll make it worth your while to get an F, or they'll get one for you.