TubeNet

I think this actually happens fairly often. This definitely helps with timber differences between CC and F tuba.

bloke wrote:
To me, the "octave" thing sounds like "two tubas" whereas a very well-done unison sounds like "WHAT THE HELL IS THAT ?!? "

Agreed!

Check out the Chicago recording with Barenboim.

The players are Gene Pokorny and Scott Mendoker.
I'm not sure what Gene played, but I know Scott played an HB-50. Scott played the Dies Irae down 2 octaves on the recording. It's a great sound.

Maybe Scott can clarify a bit...


Jon

Jonathan Fowler wrote:Check out the Chicago recording with Barenboim.

Anyone know if this is on iTunes? I can't seem to find it, but could easily have overlooked it...

For what it's worth:

Back when I got to perform it with the Dallas Symphony,
the guest conductor, Rafael Fruhbeck de Burgos, asked
for it in octaves. Ev Gilmore used his Mirafone F and
I was playing a Rudy 4/4 CC.
That was a fun couple of concerts.

Not too long ago, Chicago did it with Gene on
Firebird F and Marty Erickson on Willson Eb.
I would luv to get a recording of that!

tuben wrote: As I recall, Scott said he was playing a Yorkbrunner and Gene on a PT-10. It was Gene on F tuba down two octaves....
RC

Yes, I remember Gene saying that!

the elephant wrote:Do not forget that the bassoons also must be heard at all times. Luckily, they can usually play it fairly loudly. They are an important facet of the aggregate tone produced. I STRONGLY disagree with octaving in this piece.

I would have to agree with this. One of the things I think is cool about this passage is the high, bright/almost edgy tuba sound contrasted with the low, evil snarling of the bassoons.

Anyone know where the idea of having the tubas in octaves (or two octaves) came from? Not on the part, and normally the parts played in orchestra are sacrosanct to the written pitch.

Just like everything else, the octave idea stemmed from a conductor's opinion.

Or maybe the bassoonists in that Orchestra sucked and he wanted more bottom ...

This theory is by no means based on any research, but I do know Berlioz re-wrote parts depending upon what was available at the time. It is possible that the octaves might have come from his having to experiment with instrumentation every now and then.

Personally, I like the octaves and prefer a big tuba on tuba (C) on top and a smaller tuba (F) on the bottom. You can use the edge of the F and fill out the sound with the large C on top. I guess this would be similar to the Bass Bone and Tuba combo.

If you happen to be in New York on September 16, you can catch a free open rehearsal:

http://nyphil.org/attend/season/index.c ... easonNum=9