And they all played F

[T. J. Ricer]

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.

[Tom Holtz]

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 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.

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.

[Tim Olt]

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

[james]

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

[Shockwave]

And J.D. Sumner, of the Stamps (Gospel and backup group for Elvis in the 70's). He's my kind of singer too:

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.

Why not write tuba solos like that?

For anyone who hasn't heard J.D. Sumner sing, here's an audio clip:

http://members.aol.com/wbamb83392/jdsumner.mp3

-Eric

[ThomasDodd]

For anyone who hasn't heard J.D. Sumner sing, here's an audio clip:

http://members.aol.com/wbamb83392/jdsumner.mp3

I love it! He must have brass balls that drag the ground.

Yeah, He did. A vary sad day when he left us. But we still have his msic.

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.

[Sam Gnagey]

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.

[Philip Jensen]

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

[Tom Holtz]

I listened to the electric bass solos with that in mind and he was playing mostly high stuff for the solos.

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.

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.

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.

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.

[Steve Inman]

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,

[Steve Marcus]

There are many solo tuba CDs on the market now. But which ones use exclusively contrabass tuba?

Here's an example:

Sumner Erickson's CD of Etudes by S. Vasiliev

Any others?

Dave Zerkel was contemplating such a project...

[tubatooter1940]

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/

[Rick Denney]

There are many solo tuba CDs on the market now. But which ones use exclusively contrabass tuba?

Here's an example:

Sumner Erickson's CD of Etudes by S. Vasiliev

Any others?

Dave Zerkel was contemplating such a project...

I think all of Sam Pilafian's solo CD's are performed on a CC tuba. He seems to be quite committed to the contrabass.

Rick "who remembers him saying as much at an Army conference" Denney

[MaryAnn]

While you are right about his playing a CC, I do believe he owns an F. I played it a couple of years ago, IIRC. Can't remember what it is though; perhaps a B&S Symphonie.

MA

[Tom Holtz]

I think all of Sam Pilafian's solo CD's are performed on a CC tuba. He seems to be quite committed to the contrabass.

Very true. Then again, it's Sam Pilafian. With chops like that, I'm not sure he's from Earth. He could do that CD on Leland's GG contrabass bugle and still make the rest of us humble.