TubeNet

That is my question, specifically regarding the section in "Ein Heldenleben" marked 'mit Dampfer'. I know that is what it says on the part and score, but I've heard several recordings in which the part is clearly not muted, (well, not several, but 3 of the 4 I've found are played sans mute.) My other problem is that, with the mute I have access to, the crucial low Eb is very, very problematic, i.e., almost nonexistent. And, to top it off, the audition I'm playing for is next Monday. I've thought about telling the conductor that I will be not using a mute, but I'm worried that I might sound like I'm not ready for this part. Any thoughts on this topic would be appreciated.
Aaron Hynds

tubafatness wrote:I've thought about telling the conductor that I will be not using a mute, but I'm worried that I might sound like I'm not ready for this part.

It sounds as though that is indeed the case, however. In an audition, I think the first thing they look at is whether you are faithful to the composer's stated intentions while making music. That means using a mute where a mute is marked.

See if you can borrow a mute that works a little better on the problem note.

My bet is you'll lose more not following the marking than you'll lose in a bit of struggle with one low note. Abandoning the markings is something you can do only after proving yourself within the context of the ink, it seems to me, and then only as part of a larger musical decision.

Rick "who once expensively Fedexed an Apperson mute to arrive in time for an amateur orchestra rehearsal" Denney

If its an audition, and the part asks for a mute, go with the mute. But be prepared IF they ask you not to.

One thing we used to do in auditions was see how the candidates reacted to change.

But they should know that the part asks for mute, perhaps all of the other candidates will show up with one, and you have NOT been asked to play without it. It is not your place to decide not to use it. That belongs to the conductor.

OTOH

If performing, however, what I ended up doing was using the cup from a trombone straight/cup combination to direct the sound slightly away, and take the edge off the sound.

The conductor would look back, see my hand and a shiny thing in the bell, hear the edge go from the tone, but still hear a clear sound and good articulation. And almost always smile broadly. (but I would take my real mute to rehearsals, anyway!)

I've often seen the words "no mute" on audition lists that contain Ein Heldenleben. Actually, I don't remember ever seeing a list that didn't say "no mute." But, I guess it's better to be safe than sorry.