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Had a wonderful rehearsal this Sat AM with the Minnetonka Band. The tuba section of 3 players is quite good as is the entire band for that matter. A credit to its long time conductor, Dan Geldert.

I normally play the F tuba and thus the upper notes of the divisi passages. The tuba is a 6/4 F from BMB and can hold its own against the entire band. At this morning's rehearsal I brought the F cimbasso to give it a try in a symphonic band setting. Dan was unfamiliar with it and gave me that funny look when I mentioned it and a further curious glance as I unpacked it. I think he was afraid of what it might sound like. (a mutant valved contrabass trombone on steroids)

We gave it a test drive on the Clifton Williams "Symphonic Dance - Fiesta" The tuba in many of the sections is a 4th voice to the trombones so it made sense that this might be a good paring. The other piece was "A Child is Born" by Thad Jones. Again the tuba was the 4th voice in the bone ensemble that supports a jazz-style Flugel solo. A lot of low B flats.
Simple, but oh what a wonderful texture. I am looking forward to working my way into a big band that has charts that sport a 5th bone/tuba part.

While the cimbasso can produce some aggressive and "scary" sounds, it also has this velvety warm sound that is so gentle it could cradle a new born baby. The ability to easily mute the cimbasso, like a regular trombone, makes it a logical lower member to the trombones. That it is pitched in F, will probably scare off trombone players who have marginal Bb valve fingers, and relegate it to the tuba player - if they have F chops.

I used the G&W Beltane (stainless) on it for the Williams and for the Jones a similar MP that Dave Harrison of Wedge Mouthpieces made for me with a Delrin rim on a heavy mass cup. It is more or less the same as the Beltane, but with the Wedge rim. Both mouthpieces sport a reverse taper backbore and for shallower solo style mouthpieces they can take a lot of wind without backing up.

The Delrin rim took away some of the density of the sound and made for a wonderful lush sound suitable for 'ballad style'
Kind of reminded me somewhat of that George Roberts bass bone sound. Deep, rich and warm.

Dan, as the conductor, had the final decision and was surprised and happy with this new addition to the tuba section.
I was looking for opportunities to use this wonderful instrument and chances that I would get called to play at the Met on Verdi or Puccini were pretty slim. (I had that opportunity 40 some years ago.)

My cimbasso is in F - bright silver and from Wessex. The more I play on it, the more I am in love with it. I need to stress though - musicianship and taste are really needed as this puppy is rather unique and can stick out its tongue and not be all that nice to listen to. Played artistically it is a treat.

Well, there you have it: "A morning in the life of a cimbassist."

Paul (who instead of buying a shiny red Corvette for his mid-life toy, chose a cimbasso instead) Maybery

Joe, always good to hear from you.
You raise an interesting point and it is a matter of what the piece calls for. I did not feel it appropriate to play on anything other than the 2 pieces I mentioned as on those the tuba part was a 4th trombone voice, and the other tuba was playing a real string bass and yet the other the lower tuba part. He did not double with me. Though I never have issues with redundant doubling as I rather enjoy the complex of harmonics, if and when appropriate. We had some other fun pieces: Valdres, Shost 5, which would have been fun blows but not necessarily appropriate "taste" wise. The Caribinieri Band still carry a cimbasso. Sits next to the bass trombone and the 1st tuba. They even march with the thing.
I've seen and conducted from many of the "Grand Instrumentazione" Italian band scores and while there is a collection of instruments (inlcuding almost the kitchen sink) there never has been an actual part for cimbasso to my knowledge. In Colorado this summer I had Chuck Schulz and Steve Call play a BBb and an F on "L'Inglesina" along with 3 other tubas. We also used them on "La Forza" The sound was incredible. Not huge, just complex and colorful and those two guys were 'tight.'

But yes it is fun, and in many cases I am sure I will drag it out and play it - perhaps even if its not appropriate. Hell, everything is not a definitive performance. Plus, life is too short not to enjoy a moment once in a while at the expense of propriety.

Sorry (not really) if I tempt you from "basso proprietum."

Paul (who is trying desperately to get his youth back by playing better now than he did when he did) Maybery

Hi-
Still having fun with mine--so easy to play and lots of enjoyment. Great horns!!
Mark

Here's a pic of the Cimbasso and Bones from yesterday's concert with the Minnetonka Concert Band.
Thad Jones' "A Child is Born" was a feature for the Flugel played beautifully by Scott Swanson.
The cimbasso scored a bit hit, providing a warm lush low end to the bones and giving a very suitable background under the flugel.

Nice!!
Mark

Just curious Joe, but did you use the cimbasso for the Wilson-Phillips concert?