TubeNet

I always used my Mirafone 186-5U CC. It works for me, whether I got the job or not, I still did my best.

For a major orchestra, it's gunna take more than one!

tubaman06 wrote:I just want to know what is a good tuba to tryout on for a major orchestra?

First off, I'm assuming you are asking about CC tubas. If money is not concern and you have unlimited funds, get a B&S PT-6 or a Nirschl York. I only say this because many of players I know who have advanced past round one at orchestral auditions use these. Good luck on your own search.

harold wrote:I would recommend a Holton 345 with a fifth valve. My recommendation has absolutely NOTHING to do with the fact that I may have a horn meeting this description for sale sometime in the next 3-4 months.

In BBb or C? Upright bell or bell front? Is it at Dan's?

...Errrmmm... Yours ?!?

harold wrote:I would recommend a Holton 345 with a fifth valve. My recommendation has absolutely NOTHING to do with the fact that I may have a horn meeting this description for sale sometime in the next 3-4 months.

Does this mean I will be getting mine in the next 2-3 months? After all, mine was in line before yours!

A fiberglass sousaphone with a kellyberg mouthpiece.

I would be truly impressed if someone won an audition on one of those. So do it so I can be impressed. NOW.

tubaman06 wrote:I just want to know what is a good tuba to tryout on for a major orchestra?

In the bassoon world (as I have just learned), if you want a reliably good instrument that will fit into the crowd awaiting their turn at an audition, and you can't afford (or play) that rare Heckel, then you buy a Fox 601.

It isn't so cut-and-dried in the tuba world. Most players who are winning in the U.S. these days are doing so on large 5/4 or smaller 6/4 tubas. Recent auditions have been won on such instruments the B&S PT-6, the Gronitz PCK, and others of that type. (Of course, all those competing for a major orchestra tuba chair will also play and bring a smaller instrument--probably an F tuba.)

But nothing is more embarassing than to hear the compliment "nice tuba" from the guy who just roasted you at an audition. Owning the hot setup tells the world you are the hot player, and you better be able to live up to it.

The audition committee won't see the instrument or care what you use. They will hear only the product. So, whatever aspect of the choice of instrument that isn't directly related to what the committee hears must be motivated only by impressing the other guys in the audition. The better the horn, the better you have to be to avoid being laughed at, which is good to remember if that is important to you. Of course, if that's what floats your boat, then that "nice tuba" compliment is likely all you'll be left with.

Rick "'play by sound, not by feel'" Denney

Rick Denney wrote:But nothing is more embarassing than to hear the compliment "nice tuba" from the guy who just roasted you at an audition.

On the bright side, though, there you are with a nice tuba, and that guy with the fiberglass sousaphone probably won't win either. This seems like the simplest part of it.

Donn wrote:

Rick Denney wrote:But nothing is more embarassing than to hear the compliment "nice tuba" from the guy who just roasted you at an audition.

On the bright side, though, there you are with a nice tuba, and that guy with the fiberglass sousaphone probably won't win either. This seems like the simplest part of it.

Don't be so sure.

If I showed up at an audition with my Holton and my B&S F, both of which can do the job in capable hands, and Alan Baer showed up with the fiberglass King I played in high school, he would still roast me. And he would roast me leaving 90% of his capabilities on the table.

If it's embarassing to hear the compliment "nice tuba" from the guy who just roasted you, imagine how embarassing it would be to hear "nice tuba" from the guy who roasted you playing a plastic sousaphone.

Rick "who can make any tuba sound bad" Denney

There was a tubist who used to live in this neck of the woods; his name was Glen Newman. He graduated from the University of Southern California with a degree in music, was a school music director briefly, then went to work as a letter carrier with the post office. This man was a phenomenal tubist. Until he was in high school, he did everything with the sousaphone he was provided with at Riverside Polytechnic High School (this was when it shared the campus with Riverside City College). When he bought his own tuba, he bought a King recording bass (in BB-flat) and he used it for everything, except Dixieland jazz and local civic concert band--he had a sousaphone for them. Everything he did with the local symphony orchestra was done with that huge recording bass.

Jim Self acquired that tuba after Glen died.

Long before you reach the level of ability to seriously consider auditioning for a major orchestra, you will have learned enough to not need the opinions of the TFJ (Tubenet Freak Jury). You will probably have changed horns several times before then. And when you are good enough, and you are ready to purchase a horn to pursue a major orchestra gig, your private instructor or perhaps some mentor for whom you've subbed will be the person to consult.

Keep the cart before the horse. If you are in the market for a horn, look for one that fits you well today, with room to grow for a couple of years, and don't worry about whether it'll be the horn to audition with "someday". Don't be thinking about orchestra auditions until your teacher starts talking about them. Until then, just work at becoming THE best player in America (with the possible exception of tubists who are already in major orchestras), because that is what it takes to win a major orchestra audition on tuba.

I don't mean for this to sound harsh, and I DEFINITELY don't mean for it to give the impression that I'm a great player myself (FAR from it).
_______________________________
Joe Baker, who has just about the crappiest tuba in Tennessee, and isn't particularly held back by it.

Somehow I think that if you´re ready to win auditions on ANY horn in this world, you´ll be musically matured enough not to need anybody´s advice to that matter.
(Stretching it a bit: no, not even your instructor´s. Except if you acknowledge his/her overall influence on your musical development as such advice).

I think it´s possible for a professional player to tell if they have outgrown their instruments and need a different one, or what type of sound they want to establish as a part of the ensemble they are about to join.

I´m by no means professional, and it takes a real piece of junk for me to be limited by, but I know I can sound OK on horns that are around, and I do sound worse on others I don´t own at this time, because I tried some out and came across both kinds.
I´m not suggesting I match the potential of my current horns, though.

tubeast wrote:Somehow I think that if you´re ready to win auditions on ANY horn in this world, you´ll be musically matured enough not to need anybody´s advice to that matter.

A player may have all the expertise in the world, but there's one thing no tuba player can do: hear what he sounds like from across the room. For this, there is no substitute for trained and unbiased ears.
_____________________________
Joe Baker, who doesn't really think he disagrees with Tubeast.

cc_tuba_guy wrote:

Rick "'play by sound, not by feel'" Denney

Isn't that trademark infringement? I believe Mr. Jacob's Ghost is going to sue.

If you look, you'll note two sets of quotes. The double quotes are for me, and the single quotes show that I'm quoting someone else.

And since I'm doing it for critical review purposes, I claim Fair Use.

Rick "who listened to the 1973 master class--again--on the drive to South Bend last week" Denney

As the official spokesperson of the TFJ (Tubenet Freak Jury), I must ask you to rephrase that question into something that can be answered with the word "beer" as a both an adjective AND a noun...

So here is the crowning question of them all:

If one worked hard enough and developed enough skill, do you guys think it would be possible to win an audition on ANY horn, no matter what condition? For instance, do you think Al Baer or Carol Jantsch (sp?) or any of the people that have been winning auditions lately could pick up a foreign and crappy horn and win the audition (barring any pyschological effects?)

I think it would be possible, although I don't really know why anyone would want to put themselves through such torture. After all, the horn is just an amplifier for the buzz that your lips produce......

adam0408 wrote:do you guys think it would be possible to win an audition on ANY horn, no matter what condition?

Speaking for the TFJ, I'd say "ANY horn, no matter what condition" might be s-t-r-e-t-c-h-i-n-g it a bit...

windshieldbug wrote:Speaking for the TFJ, I'd say "ANY horn, no matter what condition" might be s-t-r-e-t-c-h-i-n-g it a bit...

I'm with the Freak Jury on this one. A great tuba can't make a poor tuba player any better, but a crappy tuba can present lots of challenges even to a great player--challenges the other competitors will not be dealing with.

And a great tuba player may sound fabulous on a plastic sousaphone compared to me, but what about compared to another great tuba player?

There are photographers who have done interesting work with a Holga, but we wouldn't think Ansel Adams was one of the greats if he had used one. The parallel in the tuba world is that the plastic sousaphone in capable hands might be just find for some kinds of music and in some situations, but I doubt any player could make it work in an orchestra, when compared to other great players not similarly encumbered.

Rick "who thinks it takes both" Denney

DP wrote:and a long time ago a talented young man got into Curtis with the third valve taped down.

Fourth valve taped down, fourth!!

Proves why you need at least a 4 valve horn