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This has DEFINITELY been discussed before, more than once. search the archives. A general idea:
Play it on the horn that allows you to not miss notes.

Record yourself on all horns, decide which one sounds best.

If you can't make it sound good, perhaps give it to the first trombone to play on euphonium since they tacet there (CSO does this with GREAT results)

There are definitely opinions beyond that. That is simply my own summary of the endless amount of opinions on this subject.

I have recently had a similar discussion with people.

Here's the question I ask (and I'm ignorant to the topic).

How many times have you seen this piece performed professionally and Bydlo was played on a Euph.?

Next, how many of those times did the tuba player play Euph.?

I discovered that I was no more comfortable on Euph. than I was tuba (but I do have an F and I'm not limited to one horn). If you don't want to play it on tuba, let a t-bone player play it on Euph. or get a Euph. player in there...

It's amazing how much talk there is about this one solo.

Maurice Ravel, in his orchestration of "Bydlo," specified an instrument that is very much like our euphonium. That the French called this instrument a "tuba" only shows that there is a language difference.

The ancient Romans had an instrument they called a "tuba." Nowadays, we call this instrument a trumpet, as is like a trumpet, and plays the same range. I can just imagine modern tuba players insisting on getting all of the "Roman Tuba" solos, even though they would be two octaves higher than the modern tuba's ordinary range.

It is good (at least in principle) to play orchestral music on the instruments it was originally written for. Otherwise, play the music on the nearest modern equivalent.

When I listen like a non-tubist to music, I never like the tone of the tuba played way high up in its range, even if the pitch is right on. The instrument does not resonate; it merely acts as a megaphone for the sound that comes from the mouthpiece. A contrabass tuba can't resonate on Bydlo. A bass tuba can resonate, but it's on the edge. A euphonium can sing in that range.

Cheers,
Allen

Well, since the solo is in the tuba part,it really is the responsibility of the tuba player to make sure it's played unless you have a really enlightened conductor who understands all these issues(unlikely).So,we must be prepared to play it convincingly on some instrument.It certainly can be played beautifully on a bass tuba and i suspect a poll of pro auditioners would still show a prevalence of bass tuba being used on the solo.Yes, a bass tuba can resonate in that register.If you don't think so,you are way behind on your solo tuba recordings

Your question opens up long-standing arguments that have little to do with your situation.

I agree with others that this is in the tuba part, and in a learning environment you should play it. There are some professional situations where a trombone player will cover it on euphonium, but most times I've heard it have been done by the tuba player.

Most professionals do it on F tuba. Many do it on an Alexander 151 tenor tuba. That instrument is pitched like a euphonium.

Nobody will care about your sound if you miss notes. Nobody will care about your musicianship if you miss notes. And do not underestimate the powah of the dahk side--that piano entrance on the final high G# is a killer. I've heard it chipped by world-class performers using their F tubas. It takes a LOT of performance experience not to be nervous about that entrance.

The euphonium also has historical roots. Most euphoniums are descended from the same saxhorn basse from which the French C tuba was descended. A French C tuba (Ravel's target instrument) is more like a modern euphonium in this context than either is like an Alex 151, let alone any bass tuba.

Rick "use the euph and make it sing" Denney

When I listen like a non-tubist to music, I never like the tone of the tuba played way high up in its range, even if the pitch is right on. The instrument does not resonate; it merely acts as a megaphone for the sound that comes from the mouthpiece.

I couldn't agree with you more, Allen, and I'm glad to see someone finally saying this. So much of the tuba solo literature spends so much time in the high range--and many of the top, showy soloists play there frequently--but I find much of it just plain boring: a thin, strained sound playing stuff I dare say I'd rather hear on a trombone or euph because they'd sing it better.

The resonance and emotive qualities of the low range are what the tuba's all about, IMHO. Most of those composing for the tuba need to understand this more or better.

Rick Denney wrote:Nobody will care about your sound if you miss notes. Nobody will care about your musicianship if you miss notes. And do not underestimate the powah of the dahk side--that piano entrance on the final high G# is a killer. I've heard it chipped by world-class performers using their F tubas. It takes a LOT of performance experience not to be nervous about that entrance.

Rick, as usual, hit the nail on the head. I've done it both ways for paying audiences.

FIRST be secure. THEN sing!

One of these days, someone's going to turn up a scrap of Ravel's correspondence where he wrote "That Bydlo thing--I couldn't decide if I wanted to give it to the horn or the funny little tuba, so I flipped a coin."


You know, it might be a great part for a Wagner tuba...

-or- "That Bydlo thing--I couldn't decide if I wanted to give it to the horn or the funny little tuba, but the tuba was extra funny last night, so I went with it!"

windshieldbug wrote:-or- "That Bydlo thing--I couldn't decide if I wanted to give it to the horn or the funny little tuba, but the tuba was extra funny last night, so I went with it!"

What's strange to me is that folks agonize over the Bydlo thing, but don't wonder if they should use a little (and I mean little) Eb tuba for Symphonie Fantastique.