Aaaaaaah, some good sense!!!
Posted: Tue Jan 05, 2010 6:13 am
I noticed that "Ben" is looking to get a Mirafone 184 and making some good offers to buy/trade.
Ben, THAT is one of the more sensible things I have seen here lately. Now I'll tell you and the rest of the mob why I think so.
Early in '65 I went into ChiTown to do my audition for Northwestern with that "dumb old tuba player". I had talked to him on the phone to arrange the time and place. Orchestra Hall, side door, they'll expect you and let you in. Went in, down to the basement and waited a few minutes. This jolly fellow came out with a 184 (I had been told not to bother bringing my own axe as he would have one for me to play on.)
Here, warm up and I'll be back in a bit.
Have you got a solo to play?
Yes
Let me hear it. (it was a "simple", lyrical thing) I can do Carnival of Venice too if you like - though I haven't practiced it for a while.
OK
By the way, do you realise you are playing on a CC and not your King BBb (I had told him what I had.)
Yes, that is why I transposed the first solo, but didn't want to mess up the Carnival as I'd play too many wrong notes.
Do you know Bydlo.
Yes, but in the wrong key on this.
Play it anyway.
Now, play it in the right key.
Okay, I must get back to rehearsal but, you will get your scholarship offer.
I used that same horn at a few lessons and it was obviously different to my King or anything else that might be in the S Normal Ave basement, but it was sooooooooooo easy to just pick up and play - as long as you didn't expect a 6/4 "sound" to come out of the bell.
Why do so many of you think you MUST play giant CC's and Giant F's plus a small CC, plus a "Small" F to be any good as a "PRO"???????? WHY go through all the agony and wasted effort of "learning all 4 keys of tubas" ??????? Unless you are REALLY one of the 1 in 1,000,000 who "needs" a whole battery of varying artillery (and maybe a concealed side-arm), get one decent axe and work your butt off til you know how to make music come out of it then get a contrasing size one in the same "key" to do the "other" things and practice the callouses off your butt, then maybe think of another "key" instrument.
AND, by the way, maybe some of the current "composers" should write for TUBA instead of Euphos on steroids. Also, MAYBE.........Some of the seeming massive army of "tuba profs" should concentrate on teaching their students to make good music instead of telling them they must have the latest and greatest cave full of bats and other creatures of the night IF they REALLY CAN TEACH.
Ben, THAT is one of the more sensible things I have seen here lately. Now I'll tell you and the rest of the mob why I think so.
Early in '65 I went into ChiTown to do my audition for Northwestern with that "dumb old tuba player". I had talked to him on the phone to arrange the time and place. Orchestra Hall, side door, they'll expect you and let you in. Went in, down to the basement and waited a few minutes. This jolly fellow came out with a 184 (I had been told not to bother bringing my own axe as he would have one for me to play on.)
Here, warm up and I'll be back in a bit.
Have you got a solo to play?
Yes
Let me hear it. (it was a "simple", lyrical thing) I can do Carnival of Venice too if you like - though I haven't practiced it for a while.
OK
By the way, do you realise you are playing on a CC and not your King BBb (I had told him what I had.)
Yes, that is why I transposed the first solo, but didn't want to mess up the Carnival as I'd play too many wrong notes.
Do you know Bydlo.
Yes, but in the wrong key on this.
Play it anyway.
Now, play it in the right key.
Okay, I must get back to rehearsal but, you will get your scholarship offer.
I used that same horn at a few lessons and it was obviously different to my King or anything else that might be in the S Normal Ave basement, but it was sooooooooooo easy to just pick up and play - as long as you didn't expect a 6/4 "sound" to come out of the bell.
Why do so many of you think you MUST play giant CC's and Giant F's plus a small CC, plus a "Small" F to be any good as a "PRO"???????? WHY go through all the agony and wasted effort of "learning all 4 keys of tubas" ??????? Unless you are REALLY one of the 1 in 1,000,000 who "needs" a whole battery of varying artillery (and maybe a concealed side-arm), get one decent axe and work your butt off til you know how to make music come out of it then get a contrasing size one in the same "key" to do the "other" things and practice the callouses off your butt, then maybe think of another "key" instrument.
AND, by the way, maybe some of the current "composers" should write for TUBA instead of Euphos on steroids. Also, MAYBE.........Some of the seeming massive army of "tuba profs" should concentrate on teaching their students to make good music instead of telling them they must have the latest and greatest cave full of bats and other creatures of the night IF they REALLY CAN TEACH.