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After by brief affair with music school in Germany a few years ago, I have many friends that argue how BBb tuba is a better professional instrument than CC. Although I have heard many reasons, I have remained unconvinced that the BBb is a "better" instrument and rather just a countries choice of preference just as the CC is in the USA.

However, I have recently had some time on my hands, and I revisited the question. I do not have much experience with BBb horn except from my high school days, so I figured an opinion outside of my own would be required.

My questions for everyone are:
What is your preference and why?
What are the benefits of playing CC over BBb or vice versa?

Traditionally:

Education major = BBb tuba

Performance major = CC tuba

For no particular reason it seems.

I play BBb because I'm familiar with it thru school.

If I see sharp key signatures, I pout and run off the stage so I never saw the "value" of a CCb.

bloke wrote:
(like A major and E major - the playing of the scales of which require less button-mashing on a Bb tuba than on a C tuba.)

I never knew!!

In that case, I see no benefit to a CC tuba whatsoever.

I should freak less when encountering sharp key signatures, but I'm not making any promises...

And the answer iiiiiiiissssssssss.....

When you find a tuba which you like play that. Dont care is it CC or BBb. When you like the sound you dont care model. Still using CC then 5 valves are needed. Using BBb then 4 valves is enough. ( something like that).

Traditionally, professional players in America have played CC tuba, and traditionally in Germany professional players play BBb. Since most of my experience professionally has been based in the US, I naturally am playing a CC tuba most of the time. I am not really trying to decide which instrument to play, but try and understand the differences between the two instruments.

It's not always easy to be proficient on both, but it would be practical and beneficial. So much band literature seems to sit with much less 'twisting of the fingers' on the BBb. In my humble opinion and experience it seems much easier to play orchestral music on a BBb than band music on a CC. Today, very few bands play the 'old warhorses' at 'break neck' tempos. But were I slated to do a concert with the Finale to Tschai 4, Russlan and Ludmilla, 1812, Marche Slave, etc. I would pull out the BBb. It would simply be much more fun and fewer cramps in the 3rd & 4th fingers. However, If you are the 'best of the best' on a CC, you would probably do just fine staying on it when in a band. The other consideration is the intonation. Yes, if you play in tune, you will be in tune. Well, not really. Most bands at least fill their sections with amateur players who have really disparate levels of musical training easpecially with regard to ear training. BBb tubas will generally have the same intonation patterns, and in a more casual scenario, probably line up better than a mixed section. Sometimes ya just get tired of insisting that you are in tune and the other guy is the problem. Same issues come up when one player uses the 4th valve and the other 1 & 3 and plays it sharp. Some of us also have a model of the tuba player we want to be in our head. That is good. But I find in so many cases, I rarely have the opportunity to pull that off with others fighting the ensemble with less than accurate playing. So what we think is ideal, and what is actually useful in a given situation may be totally disconnected. Be the best player you can be and use the best tool for the job.

I have an idea; get a horn in B (raw brass, of course) and split the difference. Then, you'll have the best of both worlds.

PaulMaybery wrote: Why does my avatar say "Three Valves" when I seldom use less than "Five?" Indeed!!!

We should switch!!

I'm learning cc because my professor told me I needed to but both are fine and dandy in my book.

Three Valves wrote:I play BBb because I'm familiar with it thru school.

If I see sharp key signatures, I pout and run off the stage so I never saw the "value" of a CCb.

What's a sharp?

bloke wrote:rotors or pistons...??

Yes.

edsel585960 wrote: What's a sharp?

I like you, kid!!

I was told I needed to change my major from music ed to performance and get a CC. As even at that age I knew what my prospects were as a performance major, and saw no point in switching to CC when BBb was working fine. So I changed my major to political science and didn't play again for 27 years.

Then I switched to CC.

those who are interested are welcome to come to my house and find out the answer to this question, at least from the Mirafone perspective. Very interesting...

viewtopic.php?f=2&t=71555" target="_blank

bloke wrote:*ref. the horrid intonation and myriad "wolf tones" suffered with most all of the "Monster" Eb tubas (built with the same goals in mind as the C tubas - ~hopefully~ just-as-big a sound as a Bb tuba, yet quicker response) built in the early part of the 20th Century.

I'm currently exploring this "phenomenon" (bass tuba wolf-tones, that is), and its possible technical "remedies" (not, "use a different mouthpiece", etc.)....

Is there any insight available as to what specifically causes this to happen (meaning, not "it's an E flat tuba in BB flat clothing")?