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bloke wrote:Wouldn't a good compromise be a nice Eb sousaphone?
I believe Jinbao offers a 4-valve, yes...??

Even a 3-valve should offer a nice, resonant, and secure double-low C...

Doc wrote:"the fact that you own and use an Eb indicates to me you don't buy into the US tuba culture (at least in recent history) of playing the biggest 6/4 CC York-o-phone on every-freakin-thing possible"

Doc wrote:

Simonk wrote:If the logistics work, maybe take both a bass and contrabass? As you say, it will work on either the EEb or your CC but what works the best fit for your orchestra and the hall you're playing in? I don't think there is an absolute right answer (though some may say this verges on heresy...)

russiantuba wrote:I would do F on 4th symphony, CC and F depending on the movement on 7, and contrabass tuba on 8 or 9.

I’ve heard a live recording done of the local full time group while studying with their principal tubist in a recording where he used F tuba—it worked very nicely with the blend and color.

Bnich93 wrote:In many Bruckner symphonies I generally regard our job as the pedals of an organ. I would usually go for the CC for the breadth of sound in the chorale sections, as long as I am confident in my ability to reach into the upper register with clarity when called upon. Another option if you are willing to carry a lot is to bring both F and CC and switch where appropriate such as one might do while playing certain Wagner pieces.

The Germans sure don't have a problem playing two tubas on works of Bruckner, Wagner, etc. Isn't this why many of us own two tubas? To use them when necessary/feasible/makes sense/sounds good/helps us do our job better and easier? PPALAN, the fact that you own and use an Eb indicates to me you don't buy into the US tuba culture (at least in recent history) of playing the biggest 6/4 CC York-o-phone on every-freakin-thing possible, and reserving F tuba for Bydlo, recital material, and the next solo album. It indicates to me you don't believe, as many are taught, that playing BBb and Eb makes you an amateur, and how you can only be taken seriously if you play CC and F (Sorry, ranting about tuba culture is for a different thread.) It also tells me you are an intelligent, thinking person who probably doesn't need to put this question to the TNFJ. But since you asked...

Everyone's concepts of the music might differ slightly, although the music director probably won't notice much or care as long as you're in tune and on time. Bruckner was an organist, and it's easy to hear that in his music. As previously mentioned the tuba often performs an organ pedal function and feel, although I wouldn't describe the role of the tuba in his works as exclusively "organ pedal." In addition to being an organ pedal, the tuba can also function, as with many other works and composers, like a 4th trombone, the bottom of the horn section, sometimes a bass of a different color, and sometimes you actually get to be the tuba. And you can often have multiple functions in the same piece. It's not uncommon to see German (and other) players bringing two instruments for works in which Americans might only bring one. And they may use a bass tuba for some works, whereas Americans will bring their biggest-freakinest-hugest 6/4 CC York-o-phone. (I'd rather play Meistersinger on F tuba like the Germans do, even if that runs afoul of American tuba culture and what is deemed "proper." After all, you are mostly a bass of another color in that piece, so let's provide some COLOR. It's not a solo work for tuba, but I digress...) Play whatever tuba or tubas help you sound your best in your section in your orchestra. Experimenting in rehearsal might provide all the answers.

If you play in a small orchestra, a CC won't blow them out, and despite the "bass tuba" indication, CC is not inherently wrong for the music, particularly with the size of modern instruments, as mentioned by other posters. Conversely, if you play in large orchestra, a projecting, singing F tuba will not get lost (the wire choir can't compete no matter how many are sawing away up front). You could likely play Eb for the entire piece very comfortably regardless of the size of the ensemble. Or mix and match. If the F, Eb, or CC (or any combination thereof) makes it easiest to do your job well, that's what should you be playing. And if you care to record it, please share the recording for us tuba junkies who love hearing good works played by good players.

tclements wrote:I used both CC; for the really big stuff (like the last mvt), and F for the first mvt. While Brukner intended it to be played on a bass, I think THESE DAYS, everyone expects a huge sound on the last mvt. As always, I say, "Play what YOU want."

Mark E. Chachich wrote:In my opinion, use the tuba (that you own) that best suits your orchestra. Now orchestra string sections mostly use steel strings (more powerful than gut strings, I know because I am also a professional string bass player and have used both). Orchestra brass, woodwind and percussion sections also generally use more powerful instruments than in Bruckner's time (and not that long ago). An example, when I was playing in the Palm Beach Symphony (late 1970s) the bass trombone player was Warren Burkhart (retired from the Cleveland Orchestra, a great person and a great musician) used a bass trombone that was the size that many tenor trombone players in today's orchestras play.
have fun with Bruckner!
Mark