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Good morning colleagues,

I wanted to ask a question in regards on how most professional Tuba players play the expose Tuba solo at the end of the Tchaikovsky Romeo & Juliet Fantasy Overture (10 measures of B natural). Do all Tuba players master the circular breathing technique? Are players breathing at specific measures (to be the least disruptive), and if yes, where? Are Tuba players be assisted by Bass Trombone for all the measures or at breath marks? Are Tuba players do sniff breathing multiple times? Other techniques player have?

Thanks for sharing,

Mike D.

I performed this just a couple weeks ago. What I wound up doing is sneaking breaths in just before the wind phrases ended, so just before the 4th and 8th bars.

Like with any interpretation choice, of course, YMMV.

Get a look at the cello part, and mark breaths during their swells. If done carefully you can breathe several times unnoticed by anyone, but the breaths must be at specific times. I actually typed the cello part for that into Finale and marked the breaths in that. I taped that into my part. It has been in our orchestra library like that since about 1998 when I first started using Finale. The next time we play this I will update the part with better spacing (now that I am proficient with Finale) on fresh paper with new tape. It was looking quite raggedy the last time we played it.

It is much harder than it seems at first glance. I had to slowly step on the gas pedal to make it through last time. Long tones, indeed.

I concur - once you know what's going on around you there are lots of spots to grab a breath.

Turn down requests by the 3rd trombone to help.

As others have said, you can sneak breaths (big) here and there. Hardest passage in the piece. Very exposed. I believe the tuba is the only instrument playing in two moments, in separate measures. Make sure you have enough breath for those spots.

Just look it up on IMSLP, OP. If taking the time to look this up is too much for you to bother with and you want us to do the work for you, then here is the relevant page from the score.

https://silver-dyanna-4.tiiny.site

Take breaths whenever the strings and bassoons will hide them. These will come at slightly irregular times, and in all cases, each one-breath section will still be pretty long, but it *will* be playable. Study this page with a recording. The recording with the sheet music will give you all the info you need to make this work for you. You cannot just do this, you need to practice sneaking in and out. Good luck.

Video cued up to the measure where this begins. See? All done for you.

[youtube]http://youtu.be/cn3U8AVoWdY?t=1055[/youtube]

EDIT: Well, these tags are not working. Just click the link. Again, good luck.

thanks all for the great tips!
MD

I played it a long time ago. If I recall correctly, there were some timpani hits that were just where I needed a quick inhale.
I do remember that the conductor actually complimented me for that note.

When I was in college i did it in one breath. Can"t anymore.

Art Hovey wrote: ↑Fri Apr 15, 2022 11:56 pm I played it a long time ago. If I recall correctly, there were some timpani hits that were just where I needed a quick inhale.
I do remember that the conductor actually complimented me for that note.

I've done the same....and got the same reaction from the Conductor. He was on my case about phrasing from a previous cycle and I knew he'd be paying attention. He watched me the whole time and then stopped the orchestra to say he couldn't believe that he saw me breathe but couldn't hear any break in the sound.

Lots of good suggestions. Hiding underneath the timpani attacks has been my go-to move for years

JW

As above. Just use the timps. The last note of the Mahler One Frere Jacque is similar.
But I think we should all listen to the youtube link and have a thread on whether we can actually hear the tuba taking a huge breath at the very beginning. I think I can!!