TubeNet

My community orchestra doesn't have a "tuba rich" program for the upcoming concert. I only have one piece to play. So, rather than catching up on my reading during the performance, I was thinking about sliding over to the percussion section and trying my hand at banging on the pots and pans. I have never done it before, but I am quite adept at counting 60 to 80 bars rest so I thought I would be qualified. Maybe second triangle or wood block.

Any other tubists found themselves going to the "darkside" to stay involved in a concert?

Tortuba wrote:Maybe second triangle or wood block.

As with many things in life, you don't really appreciate how difficult they ae until you actually try them. You may be surprised at the number of techniques you may need to play the triangle: http://www.westol.com/chief/triangle.html

Hi,

well yes i have taken a walk on the dark side. Ive been able to add to my resume the whip in "Sleigh Ride", and the dog bark for the "Waltzing Cat". Maybe i have this thing for Leroy Anderson....well.....nevermind....i guess i'll save that one for the couch.......

When I was in town back home, I sat in for part of a rehearsal of my parents' community band (which I had played in for a few years before) and played some percussion. At one point, my dad motioned for me to come over to cover the snare part. I was so focused on reading the dots that it didn't occur to me until a couple bars later that it was the Holst suite -- the one with the snare doubling the melody.



My open roll isn't perfect, but it's probably serviceable in a casual setting, and I liked learning Swiss triplets later on.

I tell ya what, though -- getting decent at rudimental drumming makes you VERY aware of tiny, quick rhythmic issues.

Oh yeah -- triangle ain't easy at all. If you're off by a split second, you can make the whole ensemble stumble, and the whole audience will feel it.

The same is pretty much true for the rest of them, too. You simply must be able to count reliably.

We had a kid in my college for a few years who just could not play on the center of the beat. For some reason, he got put on wood block for a piece in which it was a high profile part, and it was really uncomfortable whenever he came in a 16th note behind. He should've just been kept off the stage.

On a Christmas quintet gig once, the choir director at this church pulled out a piece that used organ, 4-pt brass, and tympani. Since there were two tymps sitting unused, I let the other guys do the brass and gave it a shot. Doing a tympani roll was the hardest damned thing I ever tried to do. If you haven't been schooled, DO NOT TRY THIS ON A GIG.

A few years ago, during the Marine Band's tour on the east coast, we were fortunate to have Phil Smith and Joe Alessi as soloists on our NY concert. As I slid offstage for Alessi's rehearsal of the Johann De Meij Concerto, one of the percussionists says, "If you aren't playing tuba on this, we could use you back here." I thought of that Christmas gig, and agreed on the condition that there was no way my absolute lack of chops would be noticeable. Fortunately, the wood block part was nice and easy, and suspended cymbal is pretty forgiving. Scared the bejeezus out of me anyway. I will never, ever, EVER make fun of the drummers again.

I believe you forgot one qualification for being a drummer, Christopher. One must not be able to keep accurate time. Playing only snare drum and playing loudly are important qualifications, however, to only be able to rush or drag is PRIMO!!!

mandrake wrote:

TubaRay wrote:I believe you forgot one qualification for being a drummer, Christopher. One must not be able to keep accurate time. Playing only snare drum and playing loudly are important qualifications, however, to only be able to rush or drag is PRIMO!!!

Right, my mistake. After all, the telltale sign that a drummer's at your door is if the doorbell is out of time.

The way I heard it is: "If someone is knocking on your door, you know it's a drummer if the beat speeds up"