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Go for the guts. Go for the glory. Use the CC. (what's a 'G', for gosh sakes!)

bloke wrote:Silver or silver?

Whichever one follows you to the gig that night!

I saw 2 arrangements in Robert King. Which are you playing, the Sommerhalder, or the King?

Am I correct in assuming it is written for a quintet plus a solo cornet?

I completely miss the qualifications you specified. Therefore, I shall opine with confidence ...

Our quintet is a 6-piece group, due to the laziness of the trumpets....
We sometimes swell to 7-pieces, with a 2nd trombone joining. We cover the occasional sextet arrangement with euph part doubled in the tuba part. When only 5 (or 6 w/ the extra tpt) are present, I cover the euph part on a bass tuba. When I was playing quartet arrangements in a quartet (a 4-piece quartet, in case you are wondering), I would cover the 2nd 'bone part on a bass tuba. In both of these cases, the smaller the bass tuba (to a point), the better. My YFB-621 worked well for this, as does my current YEB-381. Anything much bigger and it doesn't work for my ears. My goal was to avoid the lower octave (too big a gap between the bass part and the rest of the ensemble), to add a stronger bass voice (tuba-like), but not to dominate the sound (hence the smaller bass tuba choice). I parted company with my Besson 983 Eb when playing in the quartet as it had too broad of a sound for this purpose (to my ears).

(I guess I should update my Avatar, then .... )

Cheers,

why not recruit a guest euphist for the ocasion?judging by the rep.,this is probably not a paying gig so the 6-way instead of 5-way split won't hurt so much .

I've done this one (different arrangements) about 5 times, and always used F. It just lies well, I think. Next time around, may even try it on Eb, just to see if that lies any better. Wouldn't use euphonium (as you say, maybe not enough "guts") to fill out the ensemble.

just my $.00000000000002

Dennis

This guy works in the cubicle directly across from mine.


He is the most experienced "quintexpert" I know (he's had his quintet for just over two years now). I woke him up just now to ask this question, and he told me to get the 'F' out of there. I think he was suggesting you use the CC.
_____________________________
Joe Baker, who has to work quietly, because the only rest this guy gets is at work!

My humble vote, FWIW, would be for your F tuba. I personally do not like the sound of a euph as the bottom voice in quintets, the only exception being THE Gabrieli recording with Chicago, Philly, and Cleveland.
Then again, you could always consider using a baritone insteead of a euph.
But, I don't know too many people who won auditions on baritones

I guess i haven't figured out yet how to get paid for quintet recitals of "art"music.There's usually a dubious white dress and a bunch of flowers at my paying quintet gigs i'm hoping a special new f tuba might change all this for me

TheEngineer wrote:Wow, he looks so amazingly happy.

What you see there is exhaustion. His wife was in bed the last several months before the babies were born, and he had to get the house ready (let's see, assemble five cribs...), meet with a media agent (hired to PROTECT the kids from press intrusion, not to maximize exposure), negotiate offers of help in the form of free diapers, formula, etc., in addition to caring for a bed-ridden wife and working his job -- AND wondering whether his wife and children would all survive the birth (far from a sure thing). It hasn't gotten any better since then, either; he looks 20 years older, with streaks of grey hair and dark circles under his eyes. But he is an extremely good, devoted Dad. In 2+ years, he and his wife have had exactly ONE night out!
______________________________
Joe Baker, who admires -- but does not envy -- this particular co-worker.

Joe Baker wrote:

... somebody good with photoshop should put 5 tubas in their hands! (I'd say quintet horns, but they all look too smart for trumpet players... )

Be a REAL MAN! Locate one of the BBB flat tubas and use it.

good luck with whatever you use,
Mark

Are you kidding? If the quintet didn't fire me for hacking through a John Stevens piece on my tuba double you could at least carry the torch and play BASS BONE !



ps. I dug out the York-o-Bloke-Conn the other day. It plays great. Too bad there are no gigs in SLC, unless one is a member of the LDS church. I've taken up ski bumming to while away the hours--have been up Alta 41 times this season.

bloke wrote: ...and I noticed that choice #3 went up by one talley mark after you posted...Mr. *Mudman

Couldn't resist.

Is this a piece for Charlie to show off his frightening valve technique? Whenever he plays Clarke Studies in his studio, the entire floor goes silent. One of the most intimidating warmups I've ever heard.

Playing in the quintet was one thing that kept me partially sane during the last five years . . . I was ready to chuck my job just to get out of marching hell.

bloke wrote: . . . and this was another:

<img src="http://i1.tinypic.com/ohvfab.jpg">

Ahhhh!!!!! Where is my therapist?!

In my current gig, the band does performances for purposes other than recruiting or fundraising. Can you believe it--music for the sake of art?!

Mudman wrote:music for the sake of art?!

bloke wrote:What do you think?

Should I play the Boehme's "baritone" part on my Willson UFO, or on my F tuba?

Strongly suggest the F tuba for this*; allows for the delicacy where needed, but also enough fullness of sound to support as the bass voice when the composition requires it.

[*Even though the part looks like a euph part.]

Which version are you playing (R King or Sommerhalder)? I far prefer the 1990 Sommerhalder to the King, FWIW.