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bloke wrote:but are supposed to very subtly nod up-and-down in approval – as if elders or deacons during a boring sermon, to make the solo seem to be better than it actually is.

Such idealism.

The gritty reality? They empty their spit and look at the tuba player with impatient, sideways glances as if to say, "Are you done yet?" failing to appreciate that he brought his silver plated tuba over his lacquered tuba to provide THAT SOUND for the solo.

Love post and first reply. Both very true.

During a tuba solo, if not playing, the trombones often turn toward the tuba slackjawed.
The audience often interprets this as wonderment at the playing.
What it really is often is wonderment what fool composer gave the solo to a tuba instead of one of them...

In the orchestras that I’ve played in, usually the low brass is vital in the stacking of chairs after rehearsal.

Comic relief in "daily life of the orchestra brass" videos.

Count rests and play loud half notes.

To provide color to the overall sound.

Why else do you think some tubas are silver while others are yellow, brown, black, or--for that player with more color in his sound than anyone--spectral.



Rick "most orchestra sounds can't tolerate that much color" Denney

bloke wrote:Should (??) "low brass" be moved over into the "pitched percussion" family?

Only if you're removing dents on stage during a performance.

Or that one time my tuning slide fell out...Though to call that a "pitch" would be generous.

In more than one orchestra I have got the impression that my main role as a tubaplayer was that of a kind of "excuse-culprit": when any kind of brass or low instruments-in-general played too loud, bunches of "colleagues" in the orchestra looked at the tuba player in the first place, because they automatically assumed that the biggest instrument was the source of the "overdose".....So I have learned too ALWAYS look unguilty, even when I myself.....
Hubert

The tuba gives pitch and perhaps tone to the tympani. or is it vice versa?

* Bottom voice of the trombones.
* a 4th or 5th horn.
* giving the bass section more volume.
* giving more pitch and tone to the tympani.

Basically "special effects for the other instruments".

cjk wrote:The tuba gives pitch and perhaps tone to the tympani. or is it vice versa?

It's vice versa. In my humble opinion. There is no instrument on stage that can match the fullness of a timpani hit (or bass drum for that matter), because there is no instrument on stage that can articulate that strongly. We can't give "tone" to a timpani hit because we can't match it - there is a huge dropoff in sound when the timpani sound stops. So I think it has to be that the timpani gives force to other instruments' articulations (among other functions that it has).

cjk wrote:* Bottom voice of the trombones.
* a 4th or 5th horn.
* giving the bass section more volume.
* giving more pitch and tone to the tympani.

Basically "special effects for the other instruments".

I don't mean to sound like a broken record, but if these are the functions of the tuba (and, if you include tuba occasionally being a soloistic bass voice, they are), the above is a very good argument for using smaller equipment. The tuba is never "the bottom of the orchestra" all by itself. But, better, more experienced, and more respected players than me see a need for big equipment and use it to great effect. And given that modern trombone players play bass trombones as tenor trombones, maybe it's necessary. So. My opinion continues to be considered but humble.

bloke wrote:
The reasons given to me (summarized)...
> for the sake of doing something different, as everything has been the same for so long
> with all of these other people going down this "rabbit hole", following behind them to see what's down there

I feel like "I'm bored" and "for the sake of fun" are completely legitimate reasons to switch horns, are reasons many people switch horns, and should be more freely admitted. They're both reasons (along with others) that I sold my PT6 and got my 4/4. Someone having fun playing the horn is liable to produce a better end result. And I'm a more well-rounded player now that I've spent a few years with the 4/4. When/if the opportunity arises again, I'll sell this one and try something completely different without feeling like I have to explain why this is THE BEST HORN I'VE EVER PLAYED, AND I COULD NEVER FIND A BETTER HORN DESPITE THE FACT THAT I'M SELLING IT.

Anyway. I digress.

Going back to the original purpose of the post, as I've gotten off topic - The tuba's function in a modern symphony orchestra is to provide a foundation for the second flute.

The tuba is there, because the orchestra sounds stupid without it.

bort wrote:The tuba is there, because the orchestra sounds stupid without it.

Raucous applause

SWE wrote:Suppose you ranked the members of the symphony from the "stars" down to "role players". Where would you place the tuba?

SWE wrote:Suppose you ranked the members of the symphony from the "stars" down to "role players". Where would you place the tuba?

windshieldbug wrote:During a tuba solo, if not playing, the trombones often turn toward the tuba slackjawed.
The audience often interprets this as wonderment at the playing.

As Howard Johnson is wont to say, "It's not that the talking dog says such profound things, but merely that he talks at all.".

Uncle "his way of saying it's easy to impress folks with the tuba if you can even play a little" Beer

SWE wrote:Are you suggesting that tubists, like elephant seals, attract harems of upwards of 50 females?

No, from experience: not a single one.

Someone HAS to count

Week 7 CV get ready