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We are playing a Verdi program this week. The conductor thinks it sounds too "big" on the c-tuba. I find it sounds too "pretty" and round on the Eb tuba, and I don't play f-tuba.

What is usually used in American orchestras? Here in Germany Verdi is often played with 2 bass trombones or cimbasso.

How can I get more of a cimbasso-like sound?

If you had more than a week we could help you more.Try to find a rotary Eb or find an f and rewrite the parts.In Germany,you might even be able to find a Cimbasso in C,F, or even Eb.Sounds like the conductor would probably be ok with your piston Eb,even if you aren't completely thrilled with the result.If he really wants you to play cimbasso,see if he'll pay to rent and overnight ship one to you...

I remember in a Dan Perantoni masterclass a demonstration of how mouthpieces can change the color and breadth of one's sound. He even pointed out the viability to a certain extent of using a mouthpiece change to obtain a certain color if one could not afford to buy a second horn.
I would say experiment with various smaller shallower mouthpieces that you might buy/borrow in the time that you have. Dan made a believer out of me.

I am currently playing Verdi Requiem on my Melton 2040/5 Eb with PT65 shallow cup mouthpiece and the conductor says the sound is fine.

However, I would think you may be able to get away using your CC with a shallow cup mouthpiece. It is amazing the difference it makes to the sound, taking all the tubiness out of the tuba sound. I used that combination to play the euph solo in Fantasia on British Sea Song last week to make a more appropriate sound.

Neptune wrote:... I would think you may be able to get away using your CC with a shallow cup mouthpiece. It is amazing the difference it makes to the sound, taking all the tubiness out of the tuba sound. I used that combination to play the euph solo in Fantasia on British Sea Song last week to make a more appropriate sound.

It does make a remarkable difference! I've used that combination (Marcinkiewicz ST-4 on a CC, in my case) for the Berlioz Corsaire Overture, as well as the bass 'bone part on the Sibelius Violin Concerto -- the conductor was very pleased with (and quite surprised by) the sound in both cases.

Bob1062 wrote:

Kevin Hendrick wrote: It does make a remarkable difference! I've used that combination (Marcinkiewicz ST-4 on a CC, in my case) for the Berlioz Corsaire Overture, as well as the bass 'bone part on the Sibelius Violin Concerto -- the conductor was very pleased with (and quite surprised by) the sound in both cases.

Surprised...... or shocked/appalled......?

Speaks for itself, I think ...

Maybe I've worked for uninformed conductors but most of the guys (and women) I've worked for weren't that picky about whatever tuba I used. I know the key/tonalty of the tuba is very important in Germany. In America, it's not such a big deal. However, the orchestra boards will tell you (they always told me) when they want to hire someone to play euphonium for tuba parts they think are too high for tuba (Bydlo is a good example.)