TubeNet

High note has some thing to do with key and tuba, what kind of horn and key of horn are you on? I play a Miraphone 186 CC, I've hit the Bb on the Treble Clef staff a few times, good sound though, I'd have to say that F, but it's my opion you really don't need to work on the range to much after the D above the staff, and if you do a lot of work higher then that you should be playing Eb or a F tuba.

I once hit a high Q

I've got a solid high "Z" but that is mostly because of the name!

I like to look at it from the standpoint that, no one pays us to play high - a horn or a trombone can do that. What we do better than everyone else is LOW. "The low register is the CASH register" - that's where we earn our money so that's where you better have the chops.

I played a note so high once that I called every dog in the neighborhood. I have no idea what note it was, because I couldn't hear it.

Just my $0.02.
Roger

Ok, I'll bite.

But I'll keep it to the highest note I've had to PERFORM on a tuba.

Orchestra: Berlioz, "Symphony Fantastique", Mvt 5, high Bb (4 ledger lines above bass clef)

Chamber Music: David Dahlgren, "Folksongs of the Vikings for Tuba and Piano", high E (5 ledger lines and a space above bass clef) [this pieces was originally written for John Griffiths]

Thanks,
Chris

I think a better question should be:

"What's the highest note you would play during a live recital performance aired on TubeNet?"

If you can tell what note it'll be and nail it, you get $500. If not, you give $500 to your favorite charity...

TubaGuy753 wrote:I'm wondering what is the highest note that you guys can play, with a good sound, and by that I mean playing a high note that does not come out by accident sometimes.

I played the Jeremiah Clarke Trumpet Voluntary at my sister's wedding, so I'd have to say high C above the treble clef staff

On piano?
Any of them!

.

There is a tuba player at the Shepherd School of music named Sarah Herald that can play a triple C above the treble clef on a Meinl Weston Thor with a Gold Schilke Geib. She studies with Dave Kirk, though.

Tough to ask a question that has both a quantitative (how high) and qualitative (good sound) variable. Most pros will tell you "high enough". That's about all that needs to be said.

jon112780 wrote:I think a better question should be:

"What's the highest note you would play during a live recital performance aired on TubeNet?"

If you can tell what note it'll be and nail it, you get $500. If not, you give $500 to your favorite charity...

Bb. The one on the staff.

Rick "reasonably sure of hitting that note without a running head start" Denney

As I said, I played the high Q once. Granted, I was using my bassoon embouchre to play the accordion, but I played that high Q dammit!

All kidding aside, tuba playing is a musical endeavor, not just a physical one.

Asking how high you can jump makes about as much sense.

How musically can you play is another thing altogether!

The nice thing about playing high, is that they've made LOTS for higher tubas...

jon112780 wrote:I think a better question should be:

"What's the highest note you would play during a live recital performance aired on TubeNet?"

If you can tell what note it'll be and nail it, you get $500. If not, you give $500 to your favorite charity...

I went to a Clark Terry masterclass many years ago. One thing he said that stuck with me was; "The top of your range is not the highest note you can squeak out in a practice room. It's the highest note you know for a fact you can hit at the end of a three-hour gig."

That said, when I want to play much above the bass staff, I've got a euphonium. When I want to play below the bass staff, I've got a tuba. Roger Bobo sounded great playing "Morning Song." I've heard dozens of other players try it and mostly sound like eighth grade horn players. I know I'll catch some heat for this, but even good euph players playing between F at the bottom of the staff and pedal Bflat make me wish they had a bass bone or a tuba. Believe me, other musicians (non-tubists) are not impressed that you can play note X or Y. They are only impressed if you sound good.

William Parlier wrote:Is there really a point in playing higher than the Bb in the middle of the treble clef staff?

A good reason to play a bit higher would be to make the Bb you reference more confident and comfortable. If it's the highest note you can possibly play, you're going to have a hard time with it if/when it crops up in a performance situation.

William Parlier wrote:Is there really a point in playing higher than the Bb in the middle of the treble clef staff? That is the highest note I've seen in literature.

The fourth and final movement of the Woodward Concerto calls for the C directly above that. If memory serves, this piece in it's entirety was called for the final round of the Tuba Artist Level at the Falcone Festival last year. Looking at the part, this happens five bars from the end of the piece, which (again if memory serves) is between fifteen and twenty minutes long, a considerable portion of of which is spent above the staff. Also, I believe the bugle exercises in Sam Pilafian and Pat Sheridan's "Brass Gym" book reach to those same heights. It can be done, and at least a few people seem to think it should be done.

High range, like low range is an interesting subject for me. For high range I have to agree with Mr. Herseth's practice regimen. He would practice every hard lick, in every key, through the entire range of the horn. He would also practice a 4th ABOVE THE HIGHEST NOTE HE WOULD EVER HAVE TO PLAY.

When you can play to the highest note in a piece - you're only renting! If you practice to a 4th above that note, then you OWN that note.

By the way, there is no Rent To Own in brass playing.

Roger

on any keyed tuba: F 2 octaves abover the bass cleff staff